Make Camera Setup Easier with Better Organization
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- čas přidán 2. 03. 2023
- Making camera setup easier can simplify and speed up setup at video production events. Here's one way that I've greatly simplified my life through making sure that everything needed to connect a camera is all in one place.
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Doug this is a great Best Practice. Thanks for the video.
I like how Doug still talks enthusiastically about BMDCC after all these years :)
THANK YOU!! This video is a life saver (job saver) :D xxxxx
Very organised Doug - we don't do the laminated sheets but have a bunch of dedicated kit boxes - now you need to work out how to stop "helpers" from packing kit away in the wrong case :)
That's why I put labels on everything indicating where it goes, and have the checklist in the bin.
@@djp_video you're suggesting they actually read instructions :)
When I point them out they usually do.
Thanks Doug. Love your videos. Would you elaborate or have part #'s on the clamp you used to mount BMDCC?
amzn.to/3SQXZX8
We made heavy use of camera converters in the past. In total got 9 of them. They began to show serious issues with HDMI connections (both ways work unreliably if at all), issues with intercom not working at all no matter what (on 10th reboot it might begin to work or not). One dangerous problem we encountered several times is sound channels L and R in SDI from camera got swapped at optical output of BMDCC (by the converter itself)... one day that was very stressful because we embedded different languages in camera for live stream.
Doug do you have any history of such problems?
I've had the HDMI port go out on two of my 10-ish converters. So I've relegated those two as backups or to be used with SDI monitors. Otherwise they're still okay.
I haven't had the other issues you mentioned.
One question, 9:16, you powered on the camera converter, but don't see a power cord plugged into it. Does the BMD camera converter have an internal battery of some kind? Doug thanks for doing this, I know you use the camera converter, and it's great to see how it works/integrates into the remote kit.
Yes, it has an internal battery that lasts about 3 hours.
Great suggestion for organization! I'll need to break down my gear per kits.
Btw, you us fiber hdmi cables? Mine are dying.
I have one fiber optic HDMI cable, but I never use it since I'm based on SDI and SDI-over-fiber.
@@djp_video I think I’ll need to change to SDI and get some HDMIxSDI convertors. Right now I’m limited to HDMI due to older Extreme ISO.
how did you mount those converters below your network switch? I don't see any trays. are they velcroed to the switch base and how stong are they that way. Building my rack and batling with installing trays when it will only host a few stuffs. I would prefer to not use trays especially so I can use the other side for other racking.
3M Dual Lock. Works much better than hook and loop.
Hi Doug - Do you have a template for the sheet you include in the boxes? Would be a handy starting point
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@@djp_video thanks very much that's awesome!
This is grt. Thx. What's yr preferred fiber cable to use Doug?
I've been getting Jeirdus cables from Amazon lately because they're affordable and I can get them quickly. djp.li/j75m
@@djp_video Nice, thank u.
Do you carry a fiber cleaning kit? For when dust caps mysteriously aren’t on cables? Do you do any fiber repair? Either you or someone in your area or is the price of the cables so low that there is no cost justification?
Years ago I dealt with Sony DXC-3000 and DXC M7 cameras that used expensive, fragile and heavy multi core cable. Triax wasn’t even a factory option and the one aftermarket option cost as much as the 3000’s.
I do carry a cleaning kit, and inspection camera.
But I consider that last leg of fiber from breakout box to camera to be disposable. If there's any sign of it not working correctly I just throw it away and replace it. At about $1/meter, it just doesn't make sense to try to repair them, considering the high cost of the equipment to do so.
It doesn't seem to matter what I do, the crews I work with just refuse to deal with the dust caps. They almost always get lost the first time the cables are used. I've tried the type of caps that attach to the cables, but the ones I've found are junk and (1) don't stay on the end of the cable very well, and (2) fall apart at the drop of a hat.
I do similar except I have rolling light stand cases with dividers that I put camera, tripod, and all accessories into.
If I didn't have events where I use the cameras but not the converters/monitors I'd seriously consider making up kits like that. But I do shoot quite a few events where it is just the cameras.
How do you update software for multiple pieces of equipment in your flypack? Do you go one by one?
Yes, individually, one by one.
Does the BMDCC come with a Fiber module when you order it?
Yes.
Hey Doug have you used the BMD fiber converters yet?
The Optical Fiber 12G? Or the bigger Studio/Camera converter? Yes, and no.
@@djp_video yeah the studio smpte fiber and camera back.
That solution doesn't make any sense for me whatsoever.
For most events I park my trailer in the parking lot outside of the venue, and then run a 24-strand fiber trunk cable inside. That trunk cable is 150m and I have a 150m extension for it as well. That provides connections for 10 cameras plus redundant ethernet and then two spare strands I can use for anything I want. The whole cable with fan-outs on both ends cost me well under $3000. The cables I run from my breakout box to cameras range from 10 meters up to 200 meters, and cost around $1 per meter.
The ATEM Studio Converters that I use are $2500 each for four channels, and the ATEM Camera Converters are $595 each, though I waited for deals and didn't pay anywhere near that for any of it. I have 12+ channels worth of capability with that system.
If I was to do a similar setup with the newer Studio Converter and Camera Converter products the cost would be enormous. For each camera I'd need a Studio Converter ($3325) plus Camera Converter (another $3245) plus SMPTE fiber to run between them, which runs somewhere in the neighborhood of about $40-50 per meter. Let's say for the sake of discussion that I'd need about 350 meters of SMPTE fiber for each channel to provide similar functionality to what I have... so we're looking at somewhere in the ballpark of $15,000 just for each fiber cable, plus $6500 for the converters -- for each camera. Multiply that by the roughly twelve channels I have currently and we're talking about over $250,000. I could certainly get away with fewer channels for most events, but 8 would be a bare minimum, so we're still looking at over $150,000. With my current setup, I probably paid around $12,000 *for everything*.
Add to that the fact that the newer SC/CC products are awkward to use with cameras other than the Ursas, it would be weird to use them with my Sony cameras or anything else. And integrating that solution with my current intercom is going to be problematic and expensive as well. Yes, the SMTPE-based system does offer some advantages like Genlock and multiple return channels and multiple intercom channels and power for the cameras, but it doesn't seem like all of that additional cost is worth it for my setup and the types of events I shoot.
And, on top of all of that, switching to the newer setup would push me well past my upper power limit for my trailer. And I don't have the space to install a dozen Studio Converter units. And would prefer to not deal with the heavy SMTPE fiber cables and having to run cable ramps everywhere they cross a walking path and the other headaches associate with a heavy duty cable.
Thank you!! Kindly do one more test and analysis on BMD web presenter 4K.. many are waiting for your response post firmware update..
The firmware update didn't fix the connectivity issues. It's still just as bad as it has been.
@@djp_video I wish they fix it at the earliest.. I forward your video link to their support but no response..
They've never acknowledged that there is a problem.
The only question that comes to mind is: How do you handle tally lights?
For the camera operators, they get a red box around the video on the monitor. For talent, I haven't had that be a deal breaker yet, but if it was I'd invest in something like Cuebi or FlexTally from Cerevo.