Ken Wilson: Cinematographer, crew and director in Vancouver, Washington.

I will second Delkin Device’s Fat Gecko mounts. Specifically the Fat Gecko Triple Mount. I’ve used them to film extreme off-roading 4x4s and mounted to helicopters. They hang on like a lonely octopus. http://delkin.com/product/fat-gecko-triple-mount/ I would also suggest a boom pole for your B camera. Such as Delkin’s Kaboom pole. This will allow you to quickly reposition the camera, thereby eliminating the need to stop and move a second suction mount for a different angle. http://delkin.com/product/fat-gecko-kaboom/ I’ve also used the RigWheels Magnetic Mount with the ball head and a GoPro. In lieu of a boom pole, this mount can be quickly repositioned to achieve different angles. Yet it remains securely attached even at 80+ miles per hour (tested personally). http://www.rigwheels.com/product/rigmount-magnetic-mount-with-head/

very useful, thanks!

hi parker what r the information u want from me?

Cameras are a loosing game and honestly pretty unimportant compared to things like skill using them, not to mention all the lighting and grip (and people to use that) which really make a movie. A Red Epic Dragon and Cooke S5is won't make one lick of difference if you're trying to do a Noir style film, let's say, in a white walled room, by yourself, with home-depot lights. Throw in some talented people behind and around the camera, and you can start to get kind of Ok results-- even if that means filming shirtless because all your hats/shits/jackets are being used as flags or bounces (in this hypothetical situation). Plus, with cameras-- which can easily be 250,000+ for a real full package (though generally around the 30~100K range for a rentable package) there will always be someone who will underbid you by a lot. Hell there are red ones with "dps" and "acs" which go out fully kitted here in LA for $300/day. It's nearly impossible to make money in that situation. Lighting and grip equipment, however, never really gets "outdated" and is needed on EVERY shoot regardless of camera. An HMI Par costs let' say $4000 for something small (1.2K or similar) and will rent for, say $50/day. You can make that money back a lot faster than a 50K epic you're giving away for $400/day. I can't even begin to tell you how popular Kino Flos are (even though I hate them i still HAVE to use them in certain situations). Basic moral of the story-- cameras loose money, and it's about the people using them more so than the system proper. Lighting an grip is a better investment, though it is still about the people using them (and you better pray they know what they're doing since you can seriously injure folks with that equipment... or kill them).

Nevermind, Anil. I already asked. I will not push any farther. Best to you.