I can’t adequately describe what an absolutely magical area of the St. Ynez mountains outside of Santa Barbara this is. It starts with a walk overlooking the mountains on a dirt road to the ruins of Knapp’s Castle (a mansion abandoned after a fire in the early 20th century). After the quarter-mile or so walk, off to the side of the mansion ruins, is this area with two rope swings. We made it there perfectly at sunset- I couldn’t have asked for better light (timing shoots is something Jenni has been getting really awesome at recently!)
Everyone rode the swings while I did my camera thing to get this shot of Jenni swinging with abandon over the edge.
We stayed well past sunset until the clouds rolled in (we literally walked through the clouds to the top of the mountain back to car and drove down to our campsite.)
If you’ve seen Star Trek or Westworld you’ve seen these rocks. They have been featured in Star Trek the Original Series (season 1, episode 18 “The Arena”) as well as in the 2009 film (the planet Vulcan).
More recently they were featured as a film location in episode 4 of HBO’s Westworld (“Dissonance Theory). It’s an awesome place to hike and hangout with a lot of short hikes and climbs featuring mountains in the background.
I’ve been at this location twice in the last week or so and may go there again. There’s so much to see. I have a few more shots from here that I’ll be posting over time.
It’s been a while since I’ve posted images as I’ve focused more on reviews and basically posted images on Facebook, Instagram, etc instead of here. I feel like I’ve been neglecting the blog. Good news, I have a tons of images to post so strap in- a lot of images are on the way.
Our RV (aka battlestar) is currently in Soledad Canyon, California. Coming up are Santa Barbra, Joshua Tree and Las Vegas. So yep, more stuff coming (and that’s just the next couple of months; might even been heading to Yosemite in the fall/early summer)
While I’m in California, this image here is Paris Mountain, SC. I photographed it at the early stages of the trek way back in October. It was’t the image I thought I’d capture that day, but sometimes you just happen on a scene that’s the one.
Failure is an Option
I’ve been wanting to put together video reviews for a while, so I tried a quick test by shooting a chat about my DJI Phantom 3 Pro. As you can see (and hear), it did not go so well. Actually, it went significantly worse than well (arguably, it went significantly worse than bad!). The footage itself was good, but the audio left a lot to be desired.
So, audio became a quest; I wanted to capture good audio and I was going to get to the bottom of it – one way or another. This video is the result of that quest: a brief tutorial and intro for anyone asking themselves the question: how can I record good audio for video?
What’s out, What’s in
You can flat-out forget about relying on your camera’s built-in mic: whether its on your phone, iPad or mirrorless/DSLR. Built-in mics are designed to pickup everything and anything. Audio, in a sense, is similar to photography. It’s said a good photo is more about what is left out than what is included. The same applies to capturing audio: it’s what’s left out that makes good sound. You only want to hear what you want to hear – not everything else in the environment.
Mics: some options
In short, you have 3 options: lavaliers, shotguns, and boom mics.
Lavaliers are what’s commonly known as clip-on mics. They sit close to speaker’s mouth to capture the audio. This allows for the ambient noise to be left out (though a lavalier can be lowered on the wearer to allow more environmental sounds to be picked up).
Shotgun mics are mounted on top of the camera and are used commonly when you have multiple speakers talking directly at the camera. In such situations, you don’t want to capture and mix audio from multiple lavaliers. A shotgun is what you’ll go for. Keep in mind that a shotgun mic is directional: it’ll capture what’s in front of it. The better it is, the better it is at keeping the “cone” small.
Boom mics are basically highly directional shotguns on an extension pole (aka the boom). Just about any mic can be a boom mic really- the boom just gets you closer to the speaker and allows you to turn the mic sensitivity down so it picks up less of the sound in the environment. Just about every movie you’ve seen has used a boom mic for the audio. Booms are great, but not very practical for most YouTubers as booms are typically at the higher end of the price scale- not to mention you’ll also need an assistant to hold the mic and keep it pointed at you.
Let’s not forget HandHeld mics: handhelds are great because you can be right up to the speaker and eliminate ambient sound. They also allow you to a great deal of mobility and the ability to pickup audio from multiple speakers (i.e. they’re great for interviews). They suffer, however, from the disadvantage of being, well, handheld! I can never use a handheld, it would drive me insane as I am pretty animated and use my hands a lot when I speak. You’d never hear me because the mic would be everywhere except near my mouth.
What’s In the Tutorial
- Apple EarPods ($26) – Yah, the ones that came with your iPhone or iPod)
- MXL MX-160 ($59)
- Rode SmartLav+ ($79)
- Sennhesier Clip-Mic Digital ($199)
- Mic: Rode NTG3 ($699)
- Blimp: Rode Blimp ($299) – this is not a mic, but a mount and wind screen for the NTG3
I also also had a couple handhelds, most notably the Sennheiser MD-46.
Notes on the Audio
You can hear the lavaliers and shotguns in the video- be sure to check it out if you haven’t already. My two favorite mics were the Rode SmartLav+ and the Sennhesier Clip-Mic Digital (powered by Apogee). The Apple EarPods were a surprisingly passable option – just about everyone has a set and using them to capture audio is way better than just relying on your camera’s mic. If you’re the “I like life hacks” type: you now have a new trick up your sleeve!
As for shotguns, the Rode VideoMicro and VideoMic Me are basically the same mic with different mounting/connection options. They were pretty close in sound. I did prefer the Rode VideoMic Go even though it is the largest of the three. I also think the two other mics would benefit from a windsock (aka windscreen aka dead kitten) and would yield better audio if used with one. The said, the nice thing about the VideoMic Me is you don’t need a mount for it – just plug it into your phone/iPod and you’re good to go. Keep in mind you can easily use any shotgun with your phone if you use something like the iOgrapher.
As expected, the Rode NTG3 performed exceptionally well. I didn’t demonstrate this in the video, but even a small turn of the mic resulted in a change in amplitude. Be sure to correctly point the mic or your audio will peak and valley all over the place! Incidentally, the Auray ABP-47B boompole was fantastic. The built-in cable made connecting, and handling, the NTG3 a breeze.
What should you buy
This really depends on what you’re doing. If you’re just starting out, I’d say start with your earbuds and see if they meet your needs. From there, you really can’t go wrong with the Rode VideoMicro (if you want to go the shotgun route). The Clip-Mic Digital, again, would be my choice for a lavalier.
Let me know what you end up with, or just ask any questions you have below in the comments.
A Portable Motion Control Head
Motion control gear for video and timelapse isn’t known for its portability. Motion control heads have been getting smaller, and more portable, in recent years. Yet, finding a solid, small, but easy to use motion control head isn’t, well, easy.
New to the fray is the Syrp’s Genie Mini. Priced at $249, it’s relatively inexpensive for a feature-rich single-axis motion control head that can handle 8.8lbs panning and 6.6lbs titling (more than enough capacity for most camera bodies) . It’s also small (really small). It’s Just take a look at how it compares to its big brother (sister?) the Syrp Genie, Radian from Alpine labs, and an iPhone 6s.
At 3.6” x 1.56” it doesn’t take up a lot of room in my camera bag. It’s also pretty light (8.1oz/230g) and doesn’t add much weight to my gear bag. That’s awesome for long hikes making it easy to want to bring it along.
It also sports an attractive design aesthetic. The rubber shell is thick, yet smooth, and soft, to the touch. I was initially put-off by the cork top (preferring the minimalist black rubber top of its larger sibling,) but the mini’s cork retro styling grew on me. From a feel perspective, it feels solid and has a nice heft to it. There’s also no wiggle/play in the head which makes it well suited for captures on windy days (something the Alpine Radian struggled with.)
Looking at the Genie mini from a features perspective, one stands out: and that’s Bluetooth programmability (with the free Syrp provided iOS and Android apps). All programming, including firmware updates, is handled by your phone/tablet. The app even tells you how much battery you have left- a nice touch.
If you’ve used the Genie, the Genie mini will be very familiar to you from a programming perspective. You can use the app to create a timelapse sequence or video. You can decide where the mini begins the sequence and ends it. You also have options for easing-in and easing-out and, when shooting timelapses, you can specify how long the mini will hold the shutter down (allowing for an HDR sequence to be captured.) Also, if you get confused along the way, Syrp included tutorial videos in the app. So if you’re setting up a timelapse and get a bit lost, just click on “More Info” and watch a video to figure out what you need to do.
Take a look below at the app screens. I have screens below for timelapses and video to give you a feel for how the app works.
Single-Axis is cool, but Multi-Axis is Cooler
The mini is a capable device in its own right, but pair it with its larger sibling and you can pan and track. Syrp even offers an interface cable allowing the two heads to talk to one another.
That’s pretty cool, but add another Genie mini, and Syrp’s Pan and Tilt Bracket, and you’ll be able to create multi-axis sequences. Both Genies will pair with your phone and the app will identify one as the pan head and the other as the tilt head. From there, you can program your sequence and be off shooting. Take a look at the video from Syrp explaining all this. It’s seriously cool.
Should you buy it?
Put the Genie mini in the highly recommended category. It’s small, elegant, feature-rich, and can be used as part of an ecosystem of devices allowing for a wide range of multi-axis captures. Start with one device and add-on as needed.
Syrp has been around for a few years now and has been releasing one solid, well-thought-out, product after another. The company has an eye for design and it shows. The genie is an amazing little device for your gear bag.
Where to buy
Another Canon Me too
What was Canon’s big announcement yesterday? The release of the 35 1.4LII (since the 35 1.4L has been trounced by the Sigma 35 1.4 DG HSM A) and the release of the Canon M3 (as Sony runs away with the mirrorless market).
I have no doubt the 35 1.4LII is going to be a strong contender. I’m sure the reviews will show a marked improvement in sharpness and construction. What I do have doubts about is the Eos M3. Scratch that, I don’t have doubts, I’m calling it now: the Eos M3 is yet another disappointment. Take a look at the how the camera is described by canon:
“Designed to inspire, the EOS M3 digital camera brings true EOS performance and image quality to a compact, stylish and elegant package. A pleasure to operate, with the sophistication to create stunning still and moving images, the EOS M3 is an ideal EOS for many applications, such as portraiture, landscape, travel and everything in between.”
In a world: boring. The M3 is basically a T6i sensor in a small form factor and still lags behind offerings from Sony and Olympus. You want a viewfinder? Slap it into the hotshot! Full Frame Sensor: no. Max frames per second: 4.2 (compare that to the Sony A6000’s 11fps, for example.)
A sign of things to come?
The only good silver lining here is htis could be Canon waking up and realizing it needs to up its mirrorless game. But will there be anyone with Canon glass around to care? There’s no doubt there will be Canon shooters out there, but will those who made the “switch-to-sony” come back? Switching systems only happens for drastic reasons (who wants to sell their lenses and start all over?). Can Canon release a mirrorless that’s worth it? That remains to be seen- the M3 isn’t it.
I never thought I’d write this post. I’ve been with Canon for years; my first ‘real’ film camera was a Canon, my first DSLR and every camera since until this week was a Canon. I owned several L lenses; I never thought I’d be here writing about switching platforms and ‘going Sony’, but here we are and that’s exactly what I’m writing.
Three days ago, Canon marked down its 3rd quarter outlook due to weak digital camera sales. How big was the hit? Just a minor $10 Billion dollars! Now, I’ve been thinking about writing my “breaking-up with you Canon post” for a few days, and now with the Canon earnings outlook, I thought: “yah, I better get on this”. I figured I should tell Canon why just a few thousand dollars of the big $10 Billion were not coming from me. So, how did we get here?
I remember when the first few micro 4/3 cameras made it to market in 2005/2006. “Mirrorless, bleh,” I remember thinking. Sure these new-fangled mirrorless cameras were small and light, but micro 4/3? I couldn’t understand why anyone would want a sensor even smaller than APS-C. Who would want a smaller, noisier, sensor just to save a bit of carry weight? Besides, how good could the lenses be- Canon has a history of excellent lenses? I rightly outright dismissed the early Olympus and Panasonic cameras. No serious photographer would really go mirrorless.
In June 2010, though, Sony released the Nex-7 and things got interesting. APS-C sensor, 10 frames per second, OLED viewfinder, in-camera HDR, whoa. Sure the lens collection wasn’t big, but Zeiss lenses…now we’re talking! Tempting, but still just APS-C (I wanted big, clean, pixels!). I’m wasn’t about to dump my 5D Mark II. The Nex-7 was compelling, but it wasn’t compelling enough. Besides, I had a big Canon lens investment. I wasn’t going to switch but, for the first time, I thought: “not bad mirrorless camp, not bad.”
As one Sony Nex camera after the other was released, I thought: “Canon is going to respond- there’s market here. I wonder what Canon will do?” And, what did Canon do? Canon waited a full two years after the Nex-7 before announcing the EOS M- a camera as compelling as dental surgery. It was as if Canon said: “Let’s think of the worst camera we can make, and let’s make it mirrorless. Maybe then those kids out there will see the error of their ways and buy DSLRs.” Predictably, no one bought the EOS M. The AF was slow, the ergonomics were less than impressive, and no one was interested- at least I wasn’t
Things got more interesting just a few months after the announcement of the EOS M. In September 2012, Sony announced the first full-frame mirrorless: the RX-1. Ok, it had a fixed 35mm f/2 lens, but still: it had a full-frame sensor (and that was a Zeiss lens boys and girls.) What did Canon do? Canon waited a full year before releasing the less than compelling EOS M2 (a me-too 18megapixel APS-C with slightly improved AF and built-in wifi). Mind you Canon announced the M2 just 3 days before Sony announced the A7 and A7R (24 megapixel and 36 megapixel full-frame pro class cameras that turned the world upside down).
Some would call the A7R the iPhone moment for the Canon blackberry. I wouldn’t go so far. Canon still has a fantastic product line, but Canon was dug in and, it seemed, worried about cannibalizing its own product line.
Canon, it seemed, just wasn’t seriously interested in the mirrorless market. But, guess what, photographers were. Specifically, I was. I wanted a small, light, full-frame body- not to mention the host of features Sony was touting (focus peaking, manual assist, OLED EVF, the list goes on). Canon, wants me to buy a DSLR. I looked at the 5D Mark III many times, but I can get a larger sensor, excellent image quality (not to mention fantastic dynamic range) and a host of features from the Sony A7II. And so, I write this as the last few bits of my Canon gear sit on eBay. Last week marked the farewell to my 5DMKII and all my L lenses. It also saw the purchase of a Sony A7II and Zeiss lenses (Zeiss 16-35 f/4 FE and Zeiss 24-70 f/4 FE.)
Canon: I wanted it to workout, but it didn’t. Maybe one day our paths will cross again, but right now, I don’t see it happening. Switching platforms was not easy and if Sony keeps on innovating like Sony has been (hello A7RII, you beautiful beast), I won’t switch back. Canon now has 10 billion reasons ($) to build a pro-grade mirrorless camera and I hope Canon does as competition can only make things better. Who knows, maybe I’ll pickup a Canon again someday, but not now. Now, I’m building my Zeiss lens collection.
Not too long ago capturing motion control timelapses meant spending thousands of dollars. Sure, you could “DIY it”- it didn’t cost you much to put your camera on an egg timer and wait for the “spin cycle” to complete, but good luck programming that setup!
Looking around these days, though, you can easily find a motion control head under $250. The options and features abound, and many, like the Alpine Labs Radian Motion Control Timelapse head ($249 over at B&H) we’re going to look at today, started their life on Kickstater- this means there’s a community there out of the gate tinkering and making suggestions to improve the product. But how good can a sub $250 motion control head be?
What is it it?
Radian is a lightweight single-axis motion control head. Single-axis means you can capture tilts or pans, but you don’t get linear motion on a slider.
Radian is, light, light, light. It weighs just 15 ounces (425g for ye metric folk) and measures 4.57 x 1.77” (116 x 45mm). It fits very easily in my camera bag and I don’t mind carrying it along a hike. To put this in perspective my Canon 24-105 f/4L weighs 1.47lbs (670g). Think of Radian as a light 2nd lens you’re bringing along. This is a big deal! When you’ve walked 13 miles with food and water strapped to your back, you’re thankful for every ounce you’re not carrying!
It’s light, but it’s also all plastic. I wouldn’t call it flimsy, but I also wouldn’t call it a bullet-proof all metal design- keep this in mind if your’e hopelessly rough on your gear.
Setting it up is straight forward: Radian attaches to a 1/4″ screw (no 3/8″) so just turn Radian onto the bottom of your camera then attach it to your tripod head. Radian includes a little bubble level in the package. This is nice, but I really wish the bubble head was integrated into the unit – one gust of wind and that bubble level is gone!
Radian doesn’t have an LCD screen -you program it using your iOS or android device. What this means is the programming user interface is easy to use and, more importantly, Radian’s functionality is constantly being tweaked through Alpine Labs app updates. What’s also nice is you only program Radian using your phone: your phone doesn’t have to remain connected to execute the timelapse like other apps such as TriggerTrap. You just plug-in your phone, program, and disconnect. Once your phone is disconnected the Radian app keeps track of your timelapse’s progress. This lets you walk away and just pull out your phone to see if you need to go back to your tripod(s).
Take a look at images below to get a feel for the user interface.
The one bad thing I have to say about Radian is it does not like wind. Radian works just fine when the weather is calm, but wind will turn your camera into a sail that pulls Radian around. I’ve had a couple of occasions where I just couldn’t use the head because it was too windy. This may not matter for your application, but if you’re outdoors on the seashore all the time, this may be an issue for you.
You can talk about a device all you want, but in the end the question is: can it perform the job it was designed to perform? With just a little more ‘talk’, I’ll say yes. Take a look at the video below:
- It’s light
- Easy to program
- Battery lasts forever (it’s rated for 100 hours!)
- Fits easily in my camera bag
- Industrial design doesn’t scream elegant. It’s functional but not pretty. Also, materials could be more robust
- Susceptible to wind
- Bubble level should be integrated into the unit’s body
Should you get it ?
For $249 it’s a good timelapse device to have. It’s small, lightweight, and easy to bring along. If you’re shooting atop of mountains, or anywhere where wind is pervasive, I’d say look at something else. Outside of that, it’s well worth the investment for a single-axis timelapse head.
Where to buy
B&H – $249
Most discussions of hyperlapses go something like this:
- Make sure you point your camera at the same spot as you move
- Move about the same distance between exposures
- Take exposures at regular intervals
- Create the video sequence in post and stabilize it in Adobe’s After Effects’ Warp Stabilizer. Yah, you can use other stabilizers, but they’re just OK. You really want the stabilizer in Premiere or After Effects.
All this sounds great, until you do the math. Most photographers are paying $9.99 a month for Photoshop and Lightroom. Many are even content to stay on Photoshop CS6 while paying annually for the latest version of Lightroom. For those who are paying Adobe’s $9.99 subscription fee, however, the question is: does it make sense to up the payment to $49.99 per month just to create hyperlapses? In a word: no – especially for your typical hobbyist or semipro photographer. “There just has to be an alternative”, I thought – as I set about finding a cheaper way. And, in fact, there is – if you’re a Mac user (yes, I said cheaper and mac user.)
First: the editor. Adobe Premiere is great, but for $299, Apple’s Final Cut Pro X is an excellent non-linear editor you can install on multiple computers. It’s really a no-brainer – even if you hate the Magnetic Timeline.
Second: the stabilizer. Surprisingly, FCP X’s IntertiaCam stabilizer is pretty good at working its magic on hyperlapses. Unfortunately, however, fine grain control (like the ability to choose the stabilization area, or the ability to adjust stabilization in a specific axis) just isn’t there. For that you need a third-party plugin.
One stabilizer that came up often in my research is CoreMelt’s Lock&Load. Looking through blog entries, I saw a slew of folks talking about Lock&Load, but I couldn’t find examples of it being used with hyperlapses. So, I lined up the three stabilizers (InertiaCam, Lock&Load, and Warp Stabilizer) and created the video below comparing my raw sequence with the stabilizers’ output:
As you can see, the three stabilizers are pretty close in terms of the job they do. I was surprised by IntertiaCam – I just didn’t expect it to do that good of a job. It’s not perfect, but it far exceeded my expectations. I was also pretty surprised by Lock&Load; not only was it pretty fast at analyzing the motion in the clip, but it also comes with a slew of controls letting you fine tune the stabilization area and amount. Warp Stabilizer, ofcourse, did a great job as expected.
What to get?
If you need to do the occasional hyperlapse just get yourself a copy of FCP X and use IntertiaCam. If you’re wiling to spend an extra $99, Lock&Load is a very capable stabilizer that will serve you well. It gives you a lot of control over stabilization and it’s FAST. It can also accommodate 4K footage if you’re shooting video. Yes, you’ll spend just under $400 for FCP X ($299) and Lock&Load ($99), but that’s still $200 less than what you’d pay for one year’s subscription to Adobe’s Creative Cloud. Finally, Creative Cloud (though expensive) comes with a ton of tools (Photoshop, Premiere, Illustrator – just to name a few) and many of you are already paying for the suite. If you’re already paying for the subscription then get out there, shoot, then fire up AE.
Note: CoreMelt provided a copy of Lock&Load for the purpose of this review.
You’re not a filmmaker; you’re a photographer. You deal in the moment; one image is all you need to tell a story. Filmmaking, you tell yourself, is another world – one that’s separate from yours.
Then, one day, you watch a timelapse and think: “I can do that – it’s just one exposure shot over and over again to convey the passage of time. How hard can it be?” So, you setup your tripod and camera, shoot a few hundred frames, and before long find yourself in a mystical world where reality is malleable and there you are: telling a story beyond one frame.
Now you’re hooked and it doesn’t take long for you to start wondering where to go next. A tripod and camera are nice, but motion is addictive. Sure, it maybe just the motion of a few clouds that gets you at first, but you want more. You want to create more interesting shots and take it to the next level.
Enter sliders, remotes, and motion control! Forget one shot to tell a story, you’ve gone over the edge now, and so has your budget! You thought lenses were expensive and heavy? Well, buckle up!!
Do a bit of digging and you’ll see motion control setups are all about modules. You have a slider, a motion control module, a timelapse module, and that’s just the beginning. Before long you’ll soon find yourself deciding what combination of gear you want: this slider, with that remote, with this motor, with this battery pack and at this or that length (this is not to mention accessories like ND filters and all the big bags you’ll need!). It’s not hard to spend $1500 – $3000 on a motion control setup.
I don’t want to say modularization is wrong. It’s not, in fact there’s flexibility in being able to assemble a rig to meet your needs. All I’m saying is it can get real expensive real quick.
In looking over the state of timelapse, the question Syrp asked was this: what if you could have a programmable remote and motion control unit for under $900? The question wasn’t rhetorical – Syrp put together a kickstarter campaign and delivered just that with the Genie. I want to give the Genie a full-on review in the near future, so for now, trust me when I say it’s a pretty cool. HDR: it does it; Bulb ramping, yep it’s got that; the ability to create pre-programmed sequences: sure. It’s claim to fame though is its ability to pull itself along any cable. Checkout the video:
The Genie is a great, but what was missing though was the slider. Syrp initially left the slider to you, but recently came out with their vision of what one should be with the Magic Carpet.
Syrp’s vision is this: the Magic Carpet is designed for the Genie – to complete the product line, but it’s also open to allow you to use the slider with your existing gear.
The industrial design of the Magic Carpet is fantastic. Here’s just a few examples of nice touches:
- Syrp incorporated a pulley system so you can add counterweights to the track allowing you to create rising or descending track shots easily
- The carriage has a quick release mechanism allowing for quick changes from a 1/4 “ to a 3/8” pin
- The carriage also has a tension adjustment to make sure it’s nice and taut on the track
- The end caps have legs with twist-out leveling adjustments
- The tracks have distance markings on the side so you can calculate the distance you want the carriage to move (you’ll use this a lot when working with the Genie)
Syrp’s video does a good job of breaking the features down. Check it out :
My Sample Footage
The above video is what Genie says it can do. But what can it really do? Here’s a short clip is shot with the Magic Caroet at blue hour.
The Magic Carpet comes as either a 2.6’ track or a 5.2’ track. You can just buy the track, but you’ll really want to spring for the kit with the carriage and the end caps. I’m not sure why you’d want the track itself, so let’s break down the kit options.
The 2.6’ track kit is about $300 on B&H
The 5.2’ track kit is just under $370 on B&H
The combo kit with both tracks, one carriage, and end caps set will set you back a little under $490 on B&H
Both tracks will support just over 15 lbs (15.4 to be exact)
Using it: Rigidity
I didn’t have any issue with rigidity with my setup on flat ground using the legs for stability. My typical setup, by the way, is a 5DMKII mounted on top of the Genie usually with the Sigma 35 1.4 DG HSM A lens or the Canon 24-105 f/4L.
The carriage, by the way is fantastic. It’s buttery smooth and taut. It glides through easily.
I did see some flex on either end of t he short track when mounted on a tripod using only the center mounting hole. Fortunately, all the tracks have 1/4″ and 3/8″ mounting holes on both ends of the track.
While I prefer the shorter track for portability, I often go to the longer track as it allows me to get a good amount of stability while using only one tripod (you can angle the track by setting the tripod height and just letting the other end of the track sit on the ground.) It’s all a tradeoff: carry around a long track and a big tripod or a short track and two smaller tripods (if you want to work on the extreme edges of the track). There’s no ‘right answer’. It just depends on your shoot.
Should you buy it
I’m a sucker for elegant design and the Magic Carpet is beautifully designed. Syrp puts a lot of thought and effort into industrial design and it shows. Yes, you will have some flex on the shorter track, but it is quite portable and a offers a good mid-point between rigidity and weight. Combined with the Genie, it’s a great slider to own. If you spring for the combo kit, you’re looking at under $500 that, in return, will give you a good range of timelapse options.