I can see a cabling nightmare here. Cables jutting out the previs images, camera left or camera right, is going to almost always be a sub-optimal decision.
Some side-mount problems may include:
- Problematic for handheld, where cables end up in operator's face.
- Problematic for remote head attachment with the cupboard or otherwise due to cabling becoming ensnared in the tilting mechanism or side supports.
It also would likely make sense to make the handle detachable, for various size based constraint needs as well as underslung attachment needs. The entire topside of the housing could support a cheeseplated array of threaded holes. Such an array may contribute to removing material weight, which would likely have an impact on counterbalance for handheld applications.
since the sony f55 have the xlr's on the side(90º), i totally understand that this is a bad idea :)
the reason for me to come up with a specialized 'beta-rig' was to have NO (or as few as possible) cables around. therefore my idea was to lead all necessary connections, which are important for in the field-shooting, straight to the back of the body. i want one compact and solid box/block ev. with covers on all sides and all the connections between camera body, recorder, audio-preamp, ... should be inside.
as i know now, it's not so easy to do this PCB wise. But as the actual visualization shows there are some small pci-e boards on the 'highspeed I/O board' which should let the hdmi cables out along the optical axis i suppose.
your idea to make the handle detachable and a cheeseplate on top is good i think.
the whole rig-scenario was initiated as a handheld and tripod option so i tried to find a cheap production method (lasercut out of one sheet metal). But you are totally right!
what would you like to fit inside the box?
would you like to have covers on left and right side?
Right side image.
Also note how the cable flow is on the operator's right side.
As is well known, XLRs are for audio, are never typically connected in a motion-picture / cinema environment. Even with that said, it is worth reading the review in this product as a potential insight.
So while I appreciate your sarcasm, I'd say that basing the opinion on XLR positioning is probably an incorrect inference.
EDIT: Apologies for how exceptionally snarky the original post came out. It wasn't the intention. I sincerely apologize. I hit your sarcasm and my rational abilities, as pathetic as they are, went sideways.
Not exactly true regarding the XLRSs - even running dual system sound you may want to use the onboard recording for a scratch track via either an on board mic or a radio mic to help with syncing in post. It's also a useful idea if the camera cannot accept Timecode in as you can use an Audi track to record LTO Timecode.
Also in the Documentary or corporate environment recording direct to camera is quite common. Every soundie I know carries a set of tails for this purpose.
i think it's a good idea so summarize all your user-scenarios to know what kind of connectors and gadgets we want to use with the beta in the 'cupboard' - rig.
mine is: shooting outdoors under every documentary circumstances, external and internal audio recording, long battery life, smaller sensor, handheld most of the time. the beta is not meant to use in the field but thats what i am going to do with some kind of shielded and compact rig.
to talk about the positioning we have to wait until we get the finished pcb design. their new pci slot extension boards make a lot possible. i am very lucky about that.
in general i agree that all cables used while shooting should leave the camerabody in the direction of the optical axis with an slight angle away from the operator. on the assistants side. though i think for the 'cupboard' its a little bit different because we should connect everything possible internally. so therefore its good to let them out straight to the back (in the optical axis) i think. what do you think?
I am open to any options that work toward a clear design goal. News / in-field documentary work would come with unique and possibly counter axis design goals when considering a cinema camera, for example. Alexa versus Amira come to mind.
That said, the Cupboard appeared to be the missing component to turn the Alpha into a form factor more useful for shooting. Specifically, handheld, as the DSLR form factor is horribly underwhelming for such applications.
Perhaps this inference was misplaced however.