Connection Accessories to DSLR

[Noah Kadner]

Start with looking at a seller of accessories such as RedRock Micro or Zacuto- those can give you pre-configured gear and DIY ideas.

Noah

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[Ala Mctoom]

Thanks Noah.

But even after I checked the different rig I’m still not sure how is it possible to connect the monitor to the camera rig system.

Anybody?

[Bill Davis]

Ala,

Nearly every DSLR (including yours) has a simple 1/4-20 threaded mount on the bottom. It matches the threaded mount on the bottom of all camcorders (camcorders typically pair it with a small optional “guide pin” that can be screwed in if you don’t want to use it.)

Nearly every system for add-ons comes with matching threaded mounts. Even if your particular “rails” system or mounting option does NOT come with a matching threaded screw, you can easily use one of the very common photo equipment mounts like the ubiquitous Bogen 143 BKT mounting bracket that screws onto the bottom of the camera and then allows you to mount the result to most stands and rails.

It’s NOT complicated.

FCP since NAB 1999
creator: muti-track movies
http://www.starteditingnow.com

[John Fishback]

I believe that camera has an HDMI out. You’d connect that to your monitor. Marshall and others make small monitors with HDMI ins.

John

MacPro 8-core 2.8GHz 8 GB RAM OS 10.5.8 QT7.6.4 Kona 3 Dual Cinema 23 ATI Radeon HD 3870, 24″ TV-Logic Monitor, ATTO ExpressSAS R380 RAID Adapter, PDE enclosure with 8-drive 6TB RAID 5
FCS 3 (FCP 7.0.2, Motion 4.0.2, Comp 3.5.2, DVDSP 4.2.2, Color 1.5.2)

Pro Tools HD w SYNC IO & 192 Digital I/O, Yamaha DM1000, Millennia Media HV-3C, Neumann U87, Schoeps Mk41 mics, Genelec Monitors, PrimaLT ISDN

[Ala Mctoom]

Bill,

Thanks for the reply. What I understood from you is that most of available systems share a standard threaded mounts. Now for instance, what would you do to hook a Zoom H4n recorder + Marshall field monitor to a 7d Camera? What do you need (rods, clamps, etc…) to assemble this system? Are they all 1/4?

[John Fishback]

As you can see here, the Marshall monitor has a ¼-20 mounting hole which will work with standard mounting hardware.

John

MacPro 8-core 2.8GHz 8 GB RAM OS 10.5.8 QT7.6.4 Kona 3 Dual Cinema 23 ATI Radeon HD 3870, 24″ TV-Logic Monitor, ATTO ExpressSAS R380 RAID Adapter, PDE enclosure with 8-drive 6TB RAID 5
FCS 3 (FCP 7.0.2, Motion 4.0.2, Comp 3.5.2, DVDSP 4.2.2, Color 1.5.2)

Pro Tools HD w SYNC IO & 192 Digital I/O, Yamaha DM1000, Millennia Media HV-3C, Neumann U87, Schoeps Mk41 mics, Genelec Monitors, PrimaLT ISDN

[Ala Mctoom]

Thank you John.
I think I got the whole picture.

[Richard Van den boogaard]

Instead of working with a field monitor, you may consider having a Zacuto Z-Finder attached to the back, unless of course you have multiple people that need to see the image you’re recording.

I use Manfrotto 394 quick-release plates to attach my cameras to my tripods and monopods. You might consider the purchase of a cage (powered or non-powered if you have lots of things to connect.

As for the Zoom H4N – I carry it in my pocket with the receiver for the mic attached. You do have to check regularly if audio is recording properly.

Richard van den Boogaard
cameraman / editor / video marketing consultant

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[Bill Davis]

Ala,

There’s actually a level beyond your question that’s important. It’s a personal preference thing you have to address before you decide how you’re going to build your shooting rig.

Some folks take what I’ll call the “CAGE” approach. That’s to use one of the many rails based systems to build a cage that surrounds the camera off of which they hang extras – mics, an H4n, a small monitor like the Marshall. Wireless receivers, etc. The benefit is that this ENTIRE shooting system can mount and unmount from a tripod or jib and all the functioning pieces stay intact. For “run and gun” work this is often a preference.

The other approach (“Freestyle?) is to mount your components separately. For example, to forgo the “cage” entirely and mount your external peripherals like the monitor and audio receivers and whatever to the TRIPOD and leave the camera itself unencumbered. In this configuration, you can pull the camera and go shoot stills or a quick MOS video shot without dragging along the much bigger rig.

The big difference, in my way of thinking is that in the FREESTYLE config, all the peripheral equipment stays ORIENTED to the operator regardless of where you point the camera.

Think about it. If you’re shooing a podium presentation in a ballroom, and someone stands up in the crowd behind you – and you decide to PAN 180 degrees to follow the action – it’s often a REAL HASSLE when the CAGE also swings your monitor and audio meters and everything else into a position where you can’t operate them without dancing around your tripod like a whirling dervish. This is particularly a hassle if you’re using something like a spider pod or other elevated shooting platform.

Neither setup is “right” or “wrong” they’re just different and so I think you need to decide how you’re going to shoot, before you decide how you’re going to mount.

After you decide that, you can start collecting magic arms, Mafer clamps, or cage rails as you see fit.

FCP since NAB 1999
creator: muti-track movies
http://www.starteditingnow.com

[John Frey]

I recently designed and built two ‘cages’ out of aluminum alloy, one for each studio location. Did a lot of measuring for ‘adjustability’. I wanted to be able to mount two cameras – 2 DSLRs, 2 small HD video cams, 1 of each, whatever. The rig needed to include 2 shoulder braces (quick release), and have adjustable quick releases for both camera mounts and the rig itself, so that it could be quickly snapped or unsnapped from the tripod for handheld or shoulder mount work. I am in the midst of a motorcycle racing ‘SloMo’ HD project and wanted to shoot with both a powered zoom (small HD cam at 1080p) and a DSLR at medium wide at 720p 60. I shoot the riders coming at me into the turns and powering out to the straights. I am certainly not trying to shoot the whole race, just the dynamics in the turns and occasionally the straights. I am shooting my fourth race next weekend and so far, this setup has worked really well. I now have remote buttons for both cams and the Zoom H4n on the right handgrip with either a wireless lav, shotgun or the Zoom buil-in mics feeding out of it to both camera mic inputs simultaneously. Am getting great footage with this system. Total cost per rig (aluminum, grips, hardware and cold shoe mounts, and heli-arc) was less than $125.00, not including video and audio hardware and my labor.

John D. Frey
25 Year owner/operator of two California-based production studios.

Digital West Video Productions of San Luis Obispo and Inland Images of Lake Elsinore