#camera department

[graypixllc]

Camera operator Jack Hanrahan laying down on the job. Canon 1v, 24mm. Kodak TMAX 3200. NIK

[june2734]

Actors in the morning vs. Film Crew in in the morning

[2nd-rate-film-school]

Hi! I'm a high schooler with a passion for film who hasn't actually filmed anything yet. I'm planning to get started by just filming stuff and gaining experience over time. I want to buy gear (camera, lights, etc) so I can get started but it's an expensive investment and I'm unsure what I should get. Do you have any ways to figure out which gear is good for me?

Hello @jeffreydahmerofficial

There are lots of options when it comes to gear and it can be a bit of an investment. So I have put together a starter kit with some gear breakdowns, recommendations, and prices. The prices listed are if you are purchasing brand new equipment. You can most likely find used equipment or older models that work just as well for a lower price. In addition, some miscellaneous gear you can make yourself (dollies, steadicams, light bars…), if you are willing and able to put in the time and effort.

Film Gear Starter Kit

Cameras

DSLR - digital cameras are great starter cameras because they are cheaper, small, maneuverable, and produce good quality videos. You can even buy older models to reduce the price and still get good quality (You can also buy used.) Canon and Nikon are good cameras as are some Sonys, but I am partial to Canons. When purchasing, pay special attention to if you are purchasing the camera with or without a lens and what type of lens (I recommend a zoom to start out.)

Some good DSLRs:

Nikon D3300 ($350-500) - great quality image for a relatively low price. A lens is included, so you don’t have to worry about finding one separately.

Canon EOS Rebel T5 ($350-450) - any of the rebel cameras are good, but being newer (but not the newest model) the T5 is a great choice. It has decent low-light capabilities and comes with a zoom lens.

Nikon D5300 ($400-500) - with a better sensor, and a bit more customization opions, this Nikon is a step up from the D3300 with very little change in price.

Canon EOS 6D ($1,200-1,600) - a good substitute for the more expensive 5D Mark III. For the price jump, you get much higher image processing quality and great low-light capabilities.

Canon EOS 80D ($750-1,000) - much like the 6D, it has great low-light capabilities and great image quality, plus a maneuverable viewscreen

Camcorder - In terms of video quality, DSLRs can offer the same image quality as a camcorder at a much lower price. However, camcorders have a lot to offer as well. They have much longer recording time andare built for video, so it is much easier to hold one for long periods of time, despite DSLRs being lighter. They also have built in XLR inputs and neutral density filters, which means camcorder will automatically properly expose your footage without changing the frame rate. (Bonus: They look professional, which is helpful when working freelance.)

Some good camcorders:

Canon XA30 ($1,300-2,000) - a professional/semi-professional camcorder that is easy to use, has good low-light capabilities, a touch screen,  and is relatively inexpensive for a camcorder.

Sony HXR NX100 ($1,500-2,000) - an entry-level professional camcorder that has HD quality video, good low-light capabilities, 2 XLR inputs, and 3 focus rings. It’s comparable to the more expensive Canon XF200.

Canon VIXIA GX10 ($2,500-3,000) - a “consumer” camera with professional video quality, this camcorder shoots in 4K. While it lacks some pro features, such as the XLR port, it is very portable and has optical zoom, a touch screen, (You can also get a nice kit that includes a mic, cables, backpack case, LED lights, memory card, and more for under $2,700.)

Canon XF300 ($3,000-4,000) - a professional camcorder great for run-and-gun as well as on a shoulder mount. It has a slightly larger, rotating viewscreen, 2 XLR ports, full manual and full auto modes, built in ND filters, and more. 

Misc. Camera Gear

Tripod ($20-200) - a staple for any filmmaker. You can get cheap, lightweight ones for about $20. I recommend investing in something sturdier, so you don’t risk having your camera fall over because of a flimsy tripod.

This a vanguard tripod that is good for DSLRs. It’s lightweight and small, which is great for traveling, but it also can’t support heavier cameras, so when purchasing, look at the load to see if it can support the weight of your camera. You can find Vanguard tripods and similar brands for under $50, but some run a little higher.

This is an example of a heavy duty tripod with a fluid head for easy maneuvering. These tripods are extremely sturdy and can easily support the weight of camcorders and higher-end cameras. You can get a good one of these for around $150-$200. 

Cases/Bags ($30-60) - get cases for everything: cameras, microphones, lighting, tripods, etc. You invested a lot into your gear. It is worth it to spend a little more to protect it and keep everything in good condition.

SD cards ($25-50) - I recommend 32GB or higher and make sure they are higher class cards. Otherwise, some cards may stop recording automatically with DSLRs because they can’t keep up with the writing speed.

Steadicam ($30-150) - professional steadicams are much more expensive, but you can find cheap and effective ones for DSLRs relatively easily. They give a cleaner handheld look that improves the look of your film immensely. They even have steadicams for smartphones!

Pictured Above: Roxant Pro Steadicam

Pictured Above: Ceari VILTROX WD-Z Steadicam

Microphones

Shotgun mic - a staple of you want good (or even decent) sound for your film. Unfortunately, a good mic is easily as expensive as a DSLR and requires more gear. With a shotgun mic, you need to also purchase an XLR cable, shockmount, and windscreen. Often it’s cheaper to purchase a kit rather than buy these separately.

Some recommended shotgun mics:

Rode VideoMic ($100-200) - A lower-end shotgun mic meant to be mounted directly onto a DSLR. It has decent quality sound, doesn’t need an XLR cable, has a built in shockmount, and is relatively cheap.

Audio-Technica AT875R ($150-200) - a cheaper semi-pro microphone that requires an XLR cable and phantom power. It’s smaller and has a wider pickup range, making it a good on-camera solution. It can also be mounted on a boom pole or stand. It is better for studio and indoor recording. Although it’s much cheaper, it holds its own against the Sennheiser MKE 600.

Sennheiser MKE 600 ($300-400) - powered by battery or phantom power, this is a good, well-rounded mic.

Rode NTG3 or NTG4 ($350-550) -  the NTG series is very popular in the filmmaking world. While NTG3 is arguably better, the NTG4 is cheaper and still produces very good quality sound.

Lav mics - great for wide shots, interviews, outdoor audio and as second audio source. You can hide these guys relatively easily when booming is not an option. The great thing about lavalier microphones is they are relatively inexpensive and you can get good sound with a really cheap lav. 

Some recommended lav mics:

Neewer 3.5mm ($5-10) - a super cheap lav that’s great for buying in bulk. It’s a bit harder to hide, but works great for interview videos.

 Sony ECMCS3 ($15-30) - this is a sensitive, durable, and inexpensive lav that picks up sound from both sides.

Rode Smartlav+ ($50-70) - this practical, high quality lav hooks up directly to your smartphone, external recorder, or camera.

Sennheiser EW 100 ENG G3 ($700-800) - if you are willing to spend more, these are some of the best wireless lavaliers. They have great quality and can be easily hidden.

External Sound Recorders - crucial if you plan on moving your microphone far away from the camera. Booming is usually done using external sound, meaning the mic is hooked up to an external recorder rather than the actual camera. The sound is synced in post. (That’s why we have a clapper!)

Some recommended Sound Recorders:

Zoom H1 ($50-100) - One of the first Zoom recorders, this is one of the cheapest and most basic options. It’s compatible with micro SD cards, battery operated and has a built-in omni-directional mic.

Zoom H4N Pro ($150-200) - one of the most popular and highest rated external recorders, it’s well worth the investment. It has 4-channel recording, a larger screen, easy navigation, 4 hour battery life, and a built-in omni-directional mic. (I personally recommend this one.)

Tascam DR-40 ($150-200) - with a 15 hour battery life, this 4-channel recorder is a good rival to the Zoom H4N, but it’s extra features make it slightly more expensive.

Misc. Sound Gear

Boom pole ($100-300)- sound quality improves immensely when you are able to put the mic closer to the subject rather than mounting in on the camera. You can get a pole with the cord built in or without, which is slightly cheaper. (Full disclosure: I’ve used a monopod as a mini boom pole before. Not great, but it got the job done. This guy even turned a light stand into a boom pole.)

Headphones ($100-200) - specialized or noise-cancelling headphones so you can clearly hear the audio you are capturing on set and while editing. Earbuds work, but they are far from ideal.

Deadcat ($20-30) - minimizes wind noise, very helpful for outdoor shoots. Available for both shotgun mics and lavs. You can easily get this used for under $15, but new ones are more expensive.

Lighting

Lighting is necessary on bigger shoots, but for freelance and beginners, you rarely have your own lighting outside of a studio. Lights are expensive and most of the time, you won’t be able to use them without a crew (especially outdoors). When you do use them, you will most likely be much more experienced and either working for a company with lighting equipment, or running your own company.

I recommend purchasing a cheap photography lighting set to have some lights, but wait to invest in higher end lighting. A cheap lighting + green screen kit can cost around $100-200(I personally have 2 cheap umbrella lights and while I like them, I rarely use them.) That being said, below are some common types of lights and their general price ranges. Professional brands include: Arri, Lowel, KinoFlo, Limelite, and Ikan.

Softbox/Umbrella Lights ($200-550) - used mostly in studios and photography, they give off, you guessed it, soft light and have florescent bulbs.  These are great when you need a quick light source, they are lightweight, and don’t easily overheat.

Can Lights ($500-1,000) - these are the classic lights you see on film sets. They can get very hot, but they are small, lightweight, bright, easy to assemble, and you can use diffusers, filters, and gels to customize the light.

LEDs ($1,000-2,000) - LED lights are the most expensive but also the most useful. They allow you to easily dim the light and change the temperature and they don’t overheat or use as much power.

Misc. Lighting Gear

Gloves ($30-40) - lights get hot and when you need to maneuver them up close, it’s safe to have heat-resistant gloves. Set-specific gloves are more expensive, but you can find cheaper options elsewhere that work just as well.

Bounce board ($5-10) - these can replace a fill light and help add a little more light to your scene without purchasing an expensive and bulky light. You can get collapsible reflector disc with white, silver, and/or gold for the price listed. Poster-board is another cheap alternative.

Gels, diffusers, and dimmers ($20-30) - If you don’t have an LED light, you can modify the color of a light source with gels. They work on any light source from industrial lights to household lamps and are very handy and inexpensive. (The price listed is for a kit of all of these products, but you can buy sheets of any of these for just a few dollars.)

Gaffers Tape ($5-10) - heat resistant and doesn’t leave residue. Gaff tape is used for just about everything on set from lighting, to setting marks, to taping down cords, to labeling.

I hope this helped and didn’t overwhelm you too much! Just a reminder: these are just some options based on what I see used in the industry. There is plenty of gear out there and plenty of cheaper solutions and substitutes for some gear. As always, it’s the filmmaker, not the gear that makes a good movie (but getting good gear is always nice!)

Best,

Jules

[darlingmisfit]

A semi-candid shot of me doing my thing on set this last weekend as the 2nd AC.

[rzc11]

[karingottschalk]

Canadian Society of Cinematographers: Internship Initiative – Commentary

Canadian Society of Cinematographers: Internship Initiative – Commentary

View On WordPress

[rwpohl]

[graypixllc]

Dante Spinotti, DP camera left, and 1st AC Michael Weldon camera right. On the set of Red Dragon, Baltimore. Olympus Stylus Epic. Kodak Gold 200.