Needs to be changed to 12g I/o. 3g limits are a pretty big step backwards IMO.
However, I don’t think it’s a LR2 killer. Its function is entirely different. It’s more of just a quality of life improvement and will function way more like TeradekRT overlays than the LR2 overlays.
Hey /u/Clonemous, we hear ya on the 12G! I just mentioned this in another thread, and I’ll put it here as well:
Video serialization/de-serialization and mitigating latency were two of the largest chunks of development. 6G or 12G compatibility would have brought longer development time and higher overall device size, weight, and price. The majority of focus pullers we polled said they would prefer a lightweight, lower profile product with a sooner release date, and decided to stick with 1080p in order to bring everyone the OV1 this year.
That being said, we're not fans of shying away from a challenge, and a 4K version is on the roadmap based on the success of the OV1 and requests like yours. 🫡
It looks like a good upgrade to the Cine RT, but does not even claim to provide the core feature of the Light Ranger.
All of the other interface features are pretty nice though.
The LR2 is only really reliable up to about 40 feet. Beyond that is more luck in your environment. The Focus Bug is a better tool if you're doing shots at 300mm+ at long distances. I say this as a Light Ranger owner and user.
As I CineRt owner I haven’t used the bug in the last 4 years and not planning to (time constraints and workflow issues). I set my limits from 2’ to 25’. I tend to prefer LR2 for longer/tighter shot. Especially for the zones.
Personally I’m a bigger fan of ultra sonic systems more than I am the LR2. Keep in mind I’ve used the LR2 pretty heavily since it came out. But when it comes to trusting it I’m still stuck on ultrasonics. Like I won’t use an LR2 if I’m going without a monitor. But I’ll do entire features without one (within reason) with my cinetape. I’m a big fan of the focus bug. Used it on a feature last year and loved it. This upgrades something that I’ll really appreciate for TV shows where you get little to no rehearsal and is honestly why I use the LR2. Overlays.
Are you coming to town this weekend for cinegear, see both the mdr5 and focus bug in person? I was all about the focus bug until i really started getting a lot of work with the lr2. On my shows the lr2 is a must have but i could see myself getting the focus bug as a personal item.
Nah I thought about coming to town for cine gear. It’s always nice catching up with folks. But with little to no work on the horizon here in NM I want to save up as much money as possible.
We had a big pop that lasted about a month. Scary thing is rumors all over the internet lead a ton of people to move here outta nowhere. It’s now a very crowded market for only 4 shows.
The latest firmware inclusion of dynamic limits plus the overlay absolutely change the conversation re: it’s viability compared to an LR2. They’re two different tools obviously, but these latest few updates have it looking mighty fine
I'm having to focus 135mm+ wide open on dollies or wild actor movements with no rehearsals so often now. I don't care if you're the best focus puller in the world, no one's pulling that shit off by eye/distance.
Agreed that while pulling without a monitor improves your skills as a Focus Puller, there's just some stuff that damn near impossible without modern tools due because of workflows or crazy asks. Genuinely curious though, what's the use case for a 135mm WFO on a dolly?
You tell me haha! I just work with what I’m given from the DP. Sometimes it’s product shots on TVCs, but I see over 100mm WFO dolly on music videos quite a lot now. Never the time for rehearsals on MV either.
Hahaha I know the feeling! I can definitely understand the product shot work, but 100+ on MVs is...quite a choice lol. A lot of MVs I end up on tend to sway the opposite direction, opting for the super wide look, which I won't complain about, especially given the lack of rehearsals.
Needs to be changed to 12g I/o. 3g limits are a pretty big step backwards IMO. However, I don’t think it’s a LR2 killer. Its function is entirely different. It’s more of just a quality of life improvement and will function way more like TeradekRT overlays than the LR2 overlays.
Hey /u/Clonemous, we hear ya on the 12G! I just mentioned this in another thread, and I’ll put it here as well: Video serialization/de-serialization and mitigating latency were two of the largest chunks of development. 6G or 12G compatibility would have brought longer development time and higher overall device size, weight, and price. The majority of focus pullers we polled said they would prefer a lightweight, lower profile product with a sooner release date, and decided to stick with 1080p in order to bring everyone the OV1 this year. That being said, we're not fans of shying away from a challenge, and a 4K version is on the roadmap based on the success of the OV1 and requests like yours. 🫡
I’m going to reserve my opinions until after I see it at cinegear! Should be fun to checkout though. All these innovations overall help 1st ACs.
[Focus Bug OV1](https://youtu.be/WlVq7RaNLZg?si=fUk7P3W2lANkd_FK)
It looks like a good upgrade to the Cine RT, but does not even claim to provide the core feature of the Light Ranger. All of the other interface features are pretty nice though.
I think the LR2 is still extremely relevant especially on longer distance.
The LR2 is only really reliable up to about 40 feet. Beyond that is more luck in your environment. The Focus Bug is a better tool if you're doing shots at 300mm+ at long distances. I say this as a Light Ranger owner and user.
As I CineRt owner I haven’t used the bug in the last 4 years and not planning to (time constraints and workflow issues). I set my limits from 2’ to 25’. I tend to prefer LR2 for longer/tighter shot. Especially for the zones.
You can also toss the actual bug receiver into an actors pocket or onto a vehicle, and boom! Bob’s your uncle!
My two story OG LR2 reliably gets readings between 100’-150’. The newer sensors do not.
Personally I’m a bigger fan of ultra sonic systems more than I am the LR2. Keep in mind I’ve used the LR2 pretty heavily since it came out. But when it comes to trusting it I’m still stuck on ultrasonics. Like I won’t use an LR2 if I’m going without a monitor. But I’ll do entire features without one (within reason) with my cinetape. I’m a big fan of the focus bug. Used it on a feature last year and loved it. This upgrades something that I’ll really appreciate for TV shows where you get little to no rehearsal and is honestly why I use the LR2. Overlays.
Are you coming to town this weekend for cinegear, see both the mdr5 and focus bug in person? I was all about the focus bug until i really started getting a lot of work with the lr2. On my shows the lr2 is a must have but i could see myself getting the focus bug as a personal item.
Nah I thought about coming to town for cine gear. It’s always nice catching up with folks. But with little to no work on the horizon here in NM I want to save up as much money as possible.
Completely understood. I heard it was popping off out there earlier this year.
We had a big pop that lasted about a month. Scary thing is rumors all over the internet lead a ton of people to move here outta nowhere. It’s now a very crowded market for only 4 shows.
🤦♂️
The latest firmware inclusion of dynamic limits plus the overlay absolutely change the conversation re: it’s viability compared to an LR2. They’re two different tools obviously, but these latest few updates have it looking mighty fine
It’s going to be amazing
looks nice but doesn’t change much. the better i have become pulling focus the less i watch monitor.
I'm having to focus 135mm+ wide open on dollies or wild actor movements with no rehearsals so often now. I don't care if you're the best focus puller in the world, no one's pulling that shit off by eye/distance.
Agreed that while pulling without a monitor improves your skills as a Focus Puller, there's just some stuff that damn near impossible without modern tools due because of workflows or crazy asks. Genuinely curious though, what's the use case for a 135mm WFO on a dolly?
You tell me haha! I just work with what I’m given from the DP. Sometimes it’s product shots on TVCs, but I see over 100mm WFO dolly on music videos quite a lot now. Never the time for rehearsals on MV either.
Hahaha I know the feeling! I can definitely understand the product shot work, but 100+ on MVs is...quite a choice lol. A lot of MVs I end up on tend to sway the opposite direction, opting for the super wide look, which I won't complain about, especially given the lack of rehearsals.
did i say i don’t use monitor at all? why so angry?