Rigging video gear is fun.

A big rig is a pain.

For many, it is almost a hobby in its own right, but sometimes less is very definitely more.

The G9II is a good case study here.

The camera has a superior stabiliser for its class. It also has very accurate and screen based touch sensitive AF. The benefits of M43 format help here also.

This means that it does not really need a gimbal, a screen is also less useful thanks to the touch screen AF and it follows that a follow focus is also not required.

Basically the big rig I had planned has become, especially for the G9II pretty much pointless.

This is ideal as the cameras role in my life is to be the ultimate run-n-gun camera, with an alternate role as my premium high-bit capture device.

All-i recording, a fast sensor with minimal rolling shutter, excellent high shutter options, responsive AF and workable, organic stabilising all combine to make a great on-the-go beast and help empower my large range of lens options.

My rigging kit for the G9II has reduced substantially, allowing me to add other elements like lighting and sound into a bag previously full of rigging options.

The basic camera is in the “loving” embrace of the “Black Mamba” cage. This is a great fit which does come at the expense of some connection options, but as time goes, these are become less important.

The cage is on a generic tripod plate for mounting on several accessories (tripod, rails for battery plates, the chest brace and shoulder mount* options, but no follow focus). It is a pain to remove, so I do not bother, using it for extra protection and as a brace point.

The lens is a new development.

The 12-60 Leica makes so much sense adding dual stabilising, harmonious AF performance, even manual focus ring controls (throw and linear option), but the beaten up old Olympus 12-40 is back for several reasons.

The fixed aperture, organic look and the “pull-back” manual focus ring which is far more practical than a switch or an assigned (wasted) button and it also turns the same way as my cinema lenses. It is linear by default and even with a fairly short throw, I am used to it now.

AF performance is a surprise also, as quick and accurate as the 12-60 even with a decent age and branding gap.

The slightly lumpy zoom also worries me less as the lens is now more of a kit of primes than a zoom.

The 12-60 is now my standard stills lens, the lighter weight and longer range a benefit there.

The second lens is the Sirui 24 T1.2, ideal for low light and that “cinematic” look and a very light 180 degree focus throw, so no follow focus needed. I also have an antique Pen 25 f2.8 for a bit of retro flare and funky Bokeh or the Sigma 30 f1.4 for all the modern benefits.

The last lens, but only occasionally packed is a wide, like the 8-18 or 9mm.

Handles seem to be the key.

I have an Arri mount top handle and a pair of side handles. The left hand side handle is usually used (it helps anchor the left hand even when resting on my wrist) and a right hand one I do not use much, but like to have it anyway for sweeping moves.

Between the three handles and cage, I have 7 cold shoes, which are plenty for the various accessory and mic options I may pick. The MKE-400 sits nicely on the top handle, the F1 and SSH-6 Zoom also and the MKE-600 gets some needed breathing space on the top handle if reversed.

The last option and not something I will use much, is the SSD drive mount.

The whole thing can be carried with a Black Rapid safety strap with the various handles etc protecting the camera and lens. The strap can also be used as a “gimbal sling”, meaning suspending the camera by the strap, which can be surprisingly useful.

As soon as I add anything else, the whole thing seems to lose its relevance. The G9II is very nearly capable of doing it’s thing without any help, so anything you do add needs to be a benefit, not just bolted on dross.

The big 5.11 bag now has a new calling*.

I can now fit the new Amaran 60D portable light, my Weeylite RB9, a pair of Neewer light tubes, the above rig attachments, mics and all the other useful bits you need for a portable video kit.

Add a small and a couple of super light stands for the LED’s and you are set to go.

The only other reason I would rig up the G9II is for battery help, like a power bank for the camera to reduce battery change stoppages.

Few cords, no gadgets, just czmera, handles and the minimum of extras.

*

The S5 is a different matter, being the “static” camera and less stable and AF capable.

This gets the works, mat boxes, follow focus, a set of rails for power options and screens, but that is the point of that camera and anything that may come after (another S5 as it goes). I do not require or trust AF in this format, so will likely just add another S5 for stills and rig up my current one for video.

I am starting to settle with this kit now. I did a job the other day with the G9II on a tripod, trusting the AF for shooting stage action without me there and the S5 hand held. This was all wrong because I was over reacting to things that did not eventuate.

I was fearful of the low light performance of the G9II and should not have been (as well as the EM1x for stills, equally unwarranted), I also over-estimated the danger of shallow depth of field covering a distant presentation stage with full frame or relying on the S5’s AF. Again nothing I needed to worry about.

Looking at this retrospectively, I should have used the cameras to their strengths giving the G9II a fast lens and gone free and easy, the S5 gaining some extra depth thanks to its high ISO power for stage cover. I may preach it, but it seems I do not listen to my own gospel.

*the shoulder rig in particular is seriously useful with the G9’s AF and stabe.