A familiar problem to us traveling cameramen is the constant battery charging. At the last count I had 10 different batteries and devices that needed charging for a shoot. This is all ok when you’re at home with your kit laid out but when you hit the road, charging just become an absolute nightmare. This got me thinking, there must be someway of keeping all my chargers organised and not becoming like a massive electronic spaghetti mess every time the batteries need charging.
Spagetti mess pre-shoot.
As it turned out, no one sells a bespoke product to do this but I figured I must be able to build something myself. Hence the Cameraman Charging Peli Case was born.
During my research on how to build something, I did discover that this is actually fairly common for sound recordists to do but unfortunately I can no longer find the links.
The cameraman charging peli case
First off figure out what size Peli you need. I laid all my chargers out to find the minimum size I’d need. I like to keep my kit size down so I went as small as I could, a Peli Case 1400. I picked a second hand one up from eBay for £40.
Attaching the chargers to the Peli Case is the next challenge. Velcro is great for this because you can take the chargers out and put them back in as you like. It’s also got great sticking power and can hold the heaviest of my batteries secure.
To get the chargers to fit into such a small space, I replaced the standard Figure of 8 IECs with right angled leads. You can then cut these to length and wire a plug on the end.
To keep all the leads tidy, use self adhesive cable tie mounts to cable tie the leads together. The only one thing to bear in mind with this, if any of your leads have transformers on, you’ll need to undo everything if you need to get it out.
1. Length is becoming irrelevant but there’s a much higher emphasis on creating engaging content that audiences want to watch.
2. 2 minute pseudo news pieces are dead. Either give the audience an engaging film to watch or cut the crap and tell the story in 30 seconds.
3. Brands will be delivering multiple short clips across social to add longevity to a campaign day rather than reposting the same content.
4. Subtitle EVERYTHING. The majority of views will come from silent autoplays in peoples social feeds. Embrace this and subtitle all content.
5. Facebook Live is here to stay. With captivation times of 20 minutes ON AVERAGE brands will be utilising this much more in 2017.
6. 2017 will feature even more YouTube stars rather than their ailing reality star counter parts. Whilst they might have larger fanbases, their production values are often not good enough for an integrated PR campaign. Working with reputable filmmakers, your brand can still produce content that will engage on social and also generate the media leads you’re after.
7. 360 degree video maybe a fad but it’s here to stay for 2017. Expect creative and experiential uses by brands throughout the year.
Any of this peaked your interest? Get IN TOUCH with me to chat more.
For some time now secure offloading software has been available. Whilst it's widely used by DITs and Data Wranglers, there is a slow but gradual uptake of use by camera operators, editors and videographers. I've personally been using ShotPut Pro 5 for the last year and whilst it does double the offload times at the end of a shoot, to have the knowledge that all the data is securely transferred to two separate locations and checksum verified, I can go home without worrying that I'm going to get a call in the morning from a client who's data corrupted on transfer.
So how often is that likely to happen? Well not very often that's for sure otherwise everyone would be using it by now. A prominent person within post-production recently tweeted (sorry I can't find the source now!)... "It's like wearing a condom. Why take the risk?"
For me personally, it comes into it's own when using Sony's dreaded XQD reader. A slight knock when it's plugged directly into the USB and the transfer fails. You might not always pick up on it so having a piece of software that tells you it didn't transfer successfully and displaying a warning message, is important in my mind.
The other point to using this, is that I like to have a minimum of two copies of all my footage during a project. This just means in the extremely rare event a mechanical failure or simply misplacing the drive, I've still got a backup of the important stuff elsewhere. Offloading software will automate that process for you.
ShotPut Pro 6
So this is where ShotPut Pro 6 comes in. As the latest version of Imagine Product's DIT suite, it brings a couple of new feature's to the table. Namely improved licensing, faster speed, better ability for individual files and a rather cool PDF summary of each transfer.
An introduction to ShotPro 6
Speed was one of the important factors for me. Currently, a 121GB XQD file offload going to two locations (one G-Technology Studio RAID and one single LaCie Rugged [non-SSD]) using ShotPut Pro 5 took 1hr 38mins to transfer. Using ShotPut Pro 6 it took just 50mins. That's obviously a great improvement after a long shoot day when you just want to pack the kit down and get home!
My next favourite feature is PDF summaries. As a real world application, I'm not really sure when this will be of use to me, but it is pretty cool... As well as including all the numbers, locations and file details it features thumbnails of all the files. I guess this could be useful if you wanted to quickly scan through the cards without booting up Sony Catalyst or your NLE.
Individual file and folder transfers have been greatly improved in version 6. Now there's the ability to just drag and drop different folders from one location to another. This is a great way of securely moving files around numerous hard drives in the edit suite.
Notifications also have some interesting new updates. On this version, you can program ShotPut Pro 6 to email or text you once the transfer has finished. Again, I'm not entirely certain when I'd personally need this, but I'm sure there is some real world situation that this would be really handy for someone.
Using ShotPutPro 6 at Notting Hill Carnival this year
The final feature that I was excited for (weirdly) was the licensing. ShotPut Pro 5's licensing was pretty dire. Like pretty much everybody, I run a couple of machines. My main edit suite and a location laptop. ShotPut Pro 5's licensing meant that only one activation was included in a purchase and if I wanted to run the software on the other, I'd first have to deactivate it on the other one. This isn't easy when your out on location and realise the edit suite is still activated. When contacting Imagine via Twitter about this, their response was simply "Buy another license then...".
ShotPut Pro 6's licensing system is actually still rather confusing and over complicated. In a world of Adobe Creative Cloud, if you're going to implement a licensing system that pings a server, why not aim for something that's as intuitive as that? Instead they've developed an overly complicated, clunky system where by you individually generate keys and then revoke them via their website for each activation of the product. Whilst I can revoke a license when I'm out on location, it's still extremely complicated for a piece of software that's supposed to simplify my production process.
The overly confusing new licensing system
All things considered though, if like me speed is of the essence when out on shoots and DITing footage, it's worth the upgrade if purely for that. As for the other features, they are interesting but I don't think they would swing me from ShotPut Pro 5 alone. I think the software will continue to develop and I'd like to see ShotPut Pro 7 come out next year, with even faster verification, a simpler interface and a licensing system that doesn't drive me nuts.
For now though, I'm safe in the knowledge that my footage is corruption free and not likely to get misplaced. Unless I'm really careless...