GEAR
BUYING SMART
It’s where value, performance and confidence meet, and some of the best filmmaking tools come into their own. Here’s seven things to consider when it’s time to invest in more equipment. 1 Gear can improve after time in the field Many pros quietly acknowledge this, even if manufacturers don’t want you to think about it too much. It takes a while to ensure firmware is mature and stable, known bugs are fixed and everything from early overheating issues to colour problems or battery quirks are resolved. Online communities often have the best real-world solutions to such issues. Used gear is smarter, not just cheaper. Later firmware upgrades also bring massive benefits, like the Sony FX3’s improvements to Cine EI workflows, Blackmagic cameras’ new codecs and better AF and Panasonic’s revamped AF algorithms and open gate options. 2 The ‘version 1.1’ effect By the time a camera has been out for 12 to 18 months, there’s plenty of well-understood LUTs and colour workflows. And all the NLEs will have optimised support, something that’s often an issue with the latest cameras that can force you to look for quick fixes – especially if shooting Raw. Monitoring solutions and cages are widely available and at a bigger range of prices. More third-party batteries, media and rigs will exist and cost less. There will also be solutions for lens adapters, speed boosters, SSD mounts and D-Tap plates. The gear is more practical and predictable than before. 3 Real filmmakers have already stress-tested it You’re not guessing at what the performance will be in an extreme situation. Thousands of users will
“Many pros quietly acknowledge this, even if manufacturers don’t want you to think about it”
have already shot documentaries in -10°C cold and summer weddings in 40°C heat. They’ll have dragged cages around airports and used the kit in gimbals, underwater housings and drones. You’re buying something with recorded behaviour, not theoretical specs. A used camera has a reputation, and reputations don’t lie. Launch reviews tend to focus on specs, overheating drama, pixel- peeping and comparing the camera to its rivals. What’s more important only emerges later, such as what it’s really like to use, battery life in the field, colour grading tolerance, workflow and whether it’s a good investment. 4 The reliability reality Electrical components can stabilise after their burn-in period, say many technical experts. That’s why some filmmakers prefer bodies with a decent shutter count or hour meter, the cooling fan already ‘broken in’ and the sensor behaviour already well known. This challenges the assumption that mint is always best, and can save you money. And of course, camera-to-camera colour matching guides only appear after the fact, so skin tone behaviour is predictable and any highlight roll- off quirks are documented. When you buy used, you’re buying into a known visual language. 5 The rental world moves fast Rental houses upgrade often and release perfectly functional gear at excellent prices. The cameras have full service histories, known hours of use, professional maintenance records
and have had regular cleaning and calibration. It’s peak sweet-spot gear: pro-tested but deeply discounted. 6 Cine lenses become even better Real, all-manual cine lenses hit a golden period after initial release. Their focus gears loosen slightly – in a good way – as grease settles. Colour and contrast behaviour is tested and build issues are weeded out via service bulletins. Since many lenses can have their mounts changed, they will give lasting service for a long time. 7 You skip the early-adopter tax Kit launch prices almost always drop 20-30% in year one. So, year two is the optimum value point for maximum reliability, accessory and community insights. And all with minimum depreciation. The sweet spot doesn’t mean old, it means well understood. This reframes the entire conversation around expertise and lasting value, not bargain hunting.
SONY STUNNER The FX3 has been around for years now but is still in big demand thanks to great prices and tech
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PRO MOVIEMAKER
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