At least,  that review was of what I thought was the Atlas 10… SAY WHAAAAAAAAAAAAAAAAAAAAAT? #PLOTTWIST

After receiving my Atlas 10, I opened it up and exclaimed, in the words of She, “WHY IS THIS SO THICK? WHAT IS THIS EXTRA GIRTH THAT I WAS NOT EXPECTING? MY THIS IS SMOOTH.”

Side-by-side, the rail on the Atlas 10 that Adorama rents out (left) is essentially half as thin as the actual Atlas 10!

And the carriage itself is also only about half as big! (the Cinevate logos above are the same size) So what exactly is this bizarro anorexic Atlas 10 that Adorama is renting out? #SCANDALLLLLLLLLLLLLLLLLLLLLLL

It seems like this thinner 35″ rail is actually part of the vertical kit that Cinevate makes for the Atlas 10 (note the carriage sizes above). Now, I’m not sure why Adorama opted for a whole bunch of just vertical kit rails, especially since they’d have to then separately order the end caps and feet and re-build each slider… Oh Adorama, what a quandary of a business you are.

While it is heavier, I do actually welcome the wider rail and carriage. A MkIII with a 70-200 pretty much maxes out the Adorama Atlas 10, but the version I have now at least feels like it’ll handle much, much more. I get a little less travel with the wider carriage, but it does let me put a beefier head on there as well as a larger camera package~

So those looking to throw down for an Atlas 10 after playing with Adorama’s, BE WARRRRRRNED, it’s not quite gonna be what you expect it to be…

…unlike Guy Fieri’s restaurant, which is EXACTLY what you expect it to be:

TOTALLY. MONEY.   

The folks at Arri were the first to the party with their Alexa menu simulator, but now they have a menu simulator for their Alexa Plus.  

And Canon, not to be outdone by their former fellow Axis Power, has recently come out with a simulator of their own for the C300.  

And over at Abel, they’ve recently added the BlackMagic Cinema Balls Face Box to their Field of View Comparator (which I’m pretty sure isn’t a real word). Now you can finally put an end to the fiery debate you’ve been having with that punk DVXUser member over what your uncle’s sweet Canon FD lenses that you found in the attic would look like on an F65.

In case you don’t have 30 minutes to kill to watch the full review because it’s a Monday afternoon and you have like, a real job (PFFT), here are the results in a nutshell~  

Nikon D4 – $5995.95
- completely useless in video mode unless you’re shooting at 2.7x crop – FAIL

Nikon D800 – $2999.95
- produces the sharpest image of the three
- aliasing is worse than the 5DmkIII but better than the 5DmkII
- has clean HDMI out, allowing you to feed to an external recorder like the Sound Devices Pix240
- usable image up to 3200iso

Canon 5DMkIII – $3499.00
- images needs to be sharpened in post to compare to the D800
- performs the best when it comes to aliasing 
- ALL-I compression bests the Nikon’s at 90mb/sec
- usable image up to 6400iso


So you’ve got a mixed bag of pros and cons where no one camera stands out as THE MOST ULTIMATE CAMERA EVER CREATED. But then again, that’s electronics for ya. While you get a sharper image straight out of the camera with the D800, it’s at much lower bitrate than the Canon, which may screw you if you’re looking to do a lot in post. But then again, you could just go HDMI out of the Nikon into a recorder and get 220mb/sec Pro-res files, which would be miles better than the Canon. But then you suffer in low-light and aliasing performance. OH DECISIONS. 


There is something to be said though about where the industry stands when it comes to that question of “what camera should I buy?” My first HDSLR was that cute little Panasonic GH1, and I loved it. Especially with the bitrate hack, it was an awesome camera. But I ended up selling in lieu of the Canon 60D because, as much as I thought the GH1 was a better camera, Canons were what more people were using, and, more importantly, Canons were what clients were hiring.


If you’re looking to get a camera for your own personal use and make really really good looking sex tapes, then knock yourself out, get whatever camera you want. (I suggest Go-pros, they’re easy to hide) But if you’re working freelance, 9 times out of 10 clients are looking for Canon cameras. Whether it’s to work with B-cams or match something that’s already been shot. As a freelancer, the worst thing you can do is be a pain in the ass. And if you’re that guy who they and their editors have to make all these exceptions for because you’re shooting at a different codec or on different media or they have to rent rigs specifically for your camera body because the heights are different, chances are you’re not gonna get the job. 


BUT THE BIT-RATE IS HIGHER ON MY GH-13!!! Yeah, well, the number on my paycheck is higher, BOOM. Now bring me more cake.

Of course, things may change. I’m not saying don’t get anything other than Canon cameras. In a couple years, Brett Ratner may be shooting the Tower Heist/Rush Hour cross-over on that goddamn Black Magic Cinema Camera. WHO KNOWS? It’s just important to gauge where the industry is, especially if you’re looking to invest in a camera body with the intention of making it back in rentals~ 

From front to back, the handles are, of course, the Shape 15mm handgrips. The monitor is the SmallHD DP6 HDSDI, connected to the camera’s hot shoe via a noga arm. The follow focus is the Red Rock V1 follow focus (um, it’s like, totally vintage, okay?). The baseplate is a Chrosziel baseplate with a generic quick release plate. The shoulder pad is a Zacuto shoulder pad with quick release, and off the back is a generic V-mount brick on a Trusmt battery plate, which actually powers the monitor (and can power the camera body as well if need be).


What I like about this setup is that is that it’s pretty fantastically balanced. The weight of the camera in this setup sits close to your body, meaning the counterweight, in this case the V-mount battery, doesn’t need to extend five feet backwards backwards to properly act as a counter-balance. COMPARE:

The above Zacuto rig Alex was stuck with was probably a solid foot longer than mine. Of course, Zacuto doesn’t advertise the counterweight being so far back in any of their product photos, but this is actually how far back Alex needed to have the weight to make the rig remotely comfortable. 

If there’s anything I hate more than dead weight, it’s dead weight that has as a stupid ironic name, which is why I swear against products like the Zacuto Z-Lite. The way I figure it, if you’re going to put extra weight on your rig, it sure as hell better serve more purpose than just to be stupid and heavy. Although, to be fair, spinning around in place with this rig is the perfect way to say, “GET THE FUCK OUT OF MY WAY, I’M MAKING MOVIES.”


Perhaps I’ll add some retractable version of this feature in the Mk XXVIXIIVXIV.


In the meantime though, I’m racking my brain trying to come up with a single word that describes these rigs I put together while paying proper homage to my Asian heritage… OH WAIT.