A few months ago I switched my entire camera system from Canon to Sony. I used to shoot on a Canon 5D Mark III and had a lot of Canon L lenses. But then slowly, surely, my Canon glass was falling apart. I also was unhappy with the way that Canon treated their DSLR line for filmmakers. They wanted us to buy the bigger cameras but I love shooting on small cameras and being unobtrusive.
Has it been your dream to have one of your films being distributed in theaters? This can be a grueling process. You start planning your film, then you produce it and then there’s no assurance that your film will make it to the theaters or not. I asked people in the industry who know better than I do, and they say that 99% of all movies produced will NOT make it to theaters. That’s quite disheartening. But wait… there is hope. And it wouldn’t be EntreFilmmaker if we would just walk away and accept this discomforting truth.
Today I share with you an interview with a feature film director who just closed a deal to get his film distributed here in the U.S. and internationally. It’s also his first film, and therefore it makes it even more interesting for me how he actually did it. His name is Eric Bugbee, and his film is an awesome BMX film called “Heroes of Dirt”.
The one thing I have been quite upset about is that camera manufacturers
add certain features and leave out others in various camera models so that you keep chasing and buying them and wasting your money.Today I want to whole heartedly announce that those days might be truly over. Canon has abandoned the DSLR video market with horrific small or no relevant upgrades in their DSLR camera line. That makes sense for them because they want your money to sell you the overpriced video cameras.
You know, the holy grail of shooting professionally in general is to create footage that is stunningly lit and the camera movements are smooth and innovative. In the past you had to use gliders, dollies, steadicam and glide cams in order to get those results. When using steadicams it could take up to 10 min. after you changed the lens on your camera to rebalance the rig. After a while I wasn’t using my own steadicam anymore because of this delay. Have you ever had to balance the rig and your crew is staring at you wondering when you are gonna ready to shoot again?
Then about two years ago came out the first electronic stabilizers called MOVI that promised great simplification in use and balancing the rig with the promise of super smooth camera movements. The problem was that it was expensive and the stabilizers were still heavy. Over 10 lbs. for the rig alone. Add camera and lenses and you wish you would still own your steadicam with a supportive vest.
Now, fast forward. DJI just released the brand new Ronin-M electronic stabilizer. On paper they seem to have accomplished the impossible: a stabilizer that weighs only 5 lbs. but, better yet the whole rig would cost läppische $1400? Including a remote control that lets you operate the camera movement separately? Too good to be true, I thought, and I purchased this thing in order to put it through a rigorous test and assessment for you.