Cameras, Lights and Other Stuff You Probably Shouldn't Buy

[Jim Brennan]

I am a firm believer that you need to ask yourself the question "why?" about a thousand times a day. (To yourself anyway. If you do it out loud people will treat you like you need medication.) Because "why" is often as important as "what" or "how". Sometimes mores so.

I am sometimes asked "What camera should I get?" My response is usually, "Why do you need a camera?"

Then they look at me like I am crazy, because how on earth can you shoot a movie without a camera?

So let's clear this up. There are only a few reasons why I think that buying a camera (or most other gear) is a good idea.

1) You want to pursue the tech side of things as a profession. You want to either work for hire on other people's shoots (commercials, films, etc) in a specific field like audio, or you want be a for-hire production company. Being a freelancer doesn't necessarily mean you have to buy gear either, because on some shoots, they rent gear and hire separately. Even if you own some, they may have different requirements anyway. Although, packaging yourself with your gear can help you land jobs. If you plan to do your own commercial-style shoots, the same applies. It's nice to have some of your own stuff because you are familiar with it and have access to it.


2) You Don't Have Access To It Any Other Way. This can be true of some gear. When I bought my first camera, I didn't know anyone else who had one, and it was what I needed. I could have rented, but, taking all of my plans into consideration, buying one was the best choice.


3) You Have Money To Burn. If this is the case, call me. We have a lot to talk about.

From where I sit, that's it. I know that some of you may be thinking that you don't want to have to rely on other people to get a project done. You want control over all the pieces. Trust me, I know how you feel. But, one of the most effective tools you can develop as a filmmaker is the ability to assemble and schedule an effective team. The sooner you can master that, the better off you will be.

There is another factor that is arguably even more important. Owning gear and knowing how to use it effectively are two very different things. If you can find someone who owns and operates their own gear, odds are you will get a better final product. Which is what you really want anyway, isn't it?

Don't get me wrong. I'm not saying you should never buy gear. It is nice to have some, and know how to use it in a pinch. But there are more important things to focus on.

[Coloradosploitation Films]

This is a lesson i learned too late. I made two movies, buying new DV cameras for each, and running them both into the ground over the course of production.
Some gear I'm glad i purchased, like my steadycam rig. I find a lot of people have a hard time with this, and it gives me a chance to use it myself.
Much like Troma king Lloyd Kaufman, who runs the steadycam in the movies he directs.

[Roe Moore]

Obviously I read this too late after I ventured forth and bought my new Cannon HD camcorder; it doesn't necessarily change my mind into returning the lil guy. But I see owning equipment slightly different after dealing with the Student Media/Film department...

The student broadcast media department, they expect everyone to do everything for themselves--film your own b-roll, film your stand-up/voiceovers, edit your own spots etc--which yes does get pretty dirty and nasty. But even being able to "rent" the cameras provided, it's nuts trying to have time to play with the equipment to understand all the features and to get it to work to your advantage. That's why I purchased my own cameras, computer, and final cut pro, so I have the time to play with it before important meetings/interviews/filming/etc. The way I see it now is while I'm waiting for my acting break, at least I can take advantage of being able to film spots or using it for Journalism work makes the purchase worth-while.

Buying my own equipment came in handy when I had to produce the promotional DVD because I didn' t have to figure out the camera last minute. I've also noticed while i've been working behind the camera, it has immensly improved my acting because i'm able to visualize scripts better and see the shots directors & DPs may be looking for--that may be a plug for other actors...

But as you say Jim--if you know someone who knows the how-to's and has the equipment, it's mucho better and I agree!....and no i'm not just burning money... my student loan is fueling it... =)

[Jim Brennan]

A question was asked on the main page of the corner about buying a camera, specifically a GL-2

My first response is to see the above post, and the comments below. Why do you think you need a camera?

If the answer is one that you think it's a justifies and wise purchase, then read on.

The GL-2 is a prosumer camera (meaning somewhere between the family handycam and a pro camera). It shoots in standard definition using 3 1/3" (I think) CCDs. To mini DV Tape. The advantage of a camera like this is that it is going to give you better images than a home video camera. I don't recall what type of audio inputs it has, but my guess is that they are unbalanced. But at least you probably have multiple inputs if you need them. It has a fixed lens, but it's a good one for the price. I think the GL-2 shoots in native 4:3, but I'm not sure. These are easy to find used, and you can probably get a sweet deal on one if you look hard enough.

But these cameras are on the bottom end of the prosumer category. The main reason is that they don't have the option to shoot progressive like an XL-2 or a DVX does. The reason why this has become so prized (and now common), is that progressive footage looks more like film. The GL-2 only shoots interlaced, which is what you see watching a soap opera. So, if your goal is to make 'movies', I always lean towards progressive. Both of those cameras also have balanced audio inputs and the XL-2 shoots native 16:9, and the DVX100B does as well, with the 100 capable of shooting letterbox, and the 100A capable of letterbox and a squeeze mode, which electronically mimics anamorphic 16:9 These cameras also cost more than the GL-2, although you can probably get a DVX used for about what you would pay for a new GL-2 (if they even make them anymore...not sure about that) The XL-2 tends to cost more because it has interchangeable lenses.

None of the cameras I am talking about are high-def.

Now, if progressive isn't an issue for you (maybe you are shooting animatics, news-style stuff, or TV), the GL-2 is a great camera for the money). If you want to make movies, I would look at other options.

Hope that helps

[Rick Shipley]

I have a Canon GL series camera and it does have some nice features. You can shoot in 30 frames per second mode that does help with it looking less like a soap opera and with a promist filter, it looks better than some 16mm films I have seen. It does have minor audio issues with input but I picked up a box that converts a 1/4 stereo mic jack into two XLR jacks with audio control used for a good deal. Then again, I bought mine used before the DVX came on the market.

You are right Jim when you say, you do your homework before you buy.

[Todd Bradley]

Sound gear's in the same boat. But most people, for better or worse, don't get the same temptation to go buy $5k of good audio production gear the same way they get the temptation to buy $5k to 10k of camera.

[Jim Brennan]

True enough. For some reason microphones, mixers and headphones don't make 'em swoon like lights and cameras

[Ken Hendricks]

What about teleprompters? :o)

Ken Hendricks
Director of Photography
REDRUM Digital Cinema Production

[Jim Brennan]

Teleprompters KICK ASS!

I looooove my prompter.

[John McSween]

Does all this mean that I shouldn't buy Mr. Hendricks's Kesslar Crane?

[Jim Brennan]

No.  It means that you should only buy Ken's crane if it makes financial and creative sense to do so.  Will you use it often enough to justify the expense?  Does the convenience of having a crane at the ready give you options that renting a crane would not?

 

BTW, I have used Ken's Kessler.  I dug it :-)

[Ken Hendricks]

I love this discussion! Between the two of us, Jim and I own way more gear than any two sane people should ever need.

 

Why? We like having the best tools that we can get our hands on. Why? We are serious about what we do. Why? We can't imagine doing anything else.

 

I have one lens that cost way more than most people spend on their camera, lights and audio combined. My camera cost 4 times what I paid for my car. (The camera has paid for itself many times over. I'm still paying for the car!) I like to say that it's because I have my priorities, but there's more to it than that. The camera has helped me to be able to do jobs that I never would have gotten otherwise. Recently I worked on a month long shoot in Hawaii. I've been to the Bahamas and several other places because I have the tools (and hopefully the skills) that it takes to do high end work. Could I do high end work without high end tools? Probably, although it would most likely be more difficult. Would clients be interested in hiring me if I didn't have the high end tools? Unfortunately, probably not. It helps to be able to make a living doing what I love if I have the right tools. I have tools that many indie filmmakers only dream of and yet my clients still ask for more! I do what I can to deliver.

 

There is something to be said for being able to grab the right tool at any given time, whenever the mood strikes you, without having to go through all the hassle and expense of renting what you need. Good gear can pay off in the long run. A shoddy camera that keeps falling apart will waste your time on set. Crappy lights that can't be controlled just don't add production value. Production value won't make your story any better but it will affect the look and feel of the project overall. I really believe that a production that is being made with decent equipment tends to be taken more seriously by everyone involved. Does anyone honestly think that an actor would dare to forget their lines when I'm rolling up on them with this?

 

It all starts with a Kessler Crane (or any other piece of gear)! The next thing you know, things are out of control! Somebody stop me! ;-)

 

[Jim Brennan]

All of which is true if you want to be a DP or small production house.  If you want to be a producer or a "filmmaker", you may be better off hiring someone like Ken.