(Part 2) Top products from r/Filmmakers
We found 192 product mentions on r/Filmmakers. We ranked the 2,218 resulting products by number of redditors who mentioned them. Here are the products ranked 21-40. You can also go back to the previous section.
21. Audio-Technica AT875R Line/Gradient Shotgun Condenser Microphone
Sentiment score: 10
Number of reviews: 8
Designed for video production and broadcast (ENG/EFP) audio acquisitionExtremely short length (under 7 inch ) ideal for use with compact digital camerasProvides the narrow acceptance angle desirable for long distance sound pickupExcellent sound rejection from the sides and rear of micTailored respon...
22. Rode SmartLav+ Omnidirectional Lavalier Microphone for iPhone and Smartphones, Black
Sentiment score: 7
Number of reviews: 8
Ensure you buy geniune Rode products. Products from sellers which say ‘fulfilled by amazon’ under the price are not authorized resellers, and may not be selling genuine product.Buy only from Amazon.com (labelled ‘shipped and sold by Amazon.com’)Broadcast quality, professional-grade Lavalier ...
23. Neewer 43 Inch/110 Centimeter Light Reflector 5-in-1 Collapsible Multi-Disc with Bag - Translucent, Silver, Gold, White and Black for Studio Photography Lighting and Outdoor Lighting
Sentiment score: 7
Number of reviews: 8
5 in 1 Light Reflectorcheap 5 in 1 multi photo reflector disc 43" / 110CMquality Multi Disc Light Reflectorbest 5 in 1 Collapsible Multi Disc Light Reflector110CM 5 in 1 Professional Collapsible Multi Disc Light Reflector 43
24. Save The Cat! The Last Book on Screenwriting You'll Ever Need
Sentiment score: 10
Number of reviews: 8
Michael Wiese Productions
25. ePhotoinc RL01 DSLR Rig Movie Kit Shoulder Rig Mount Video Camcorder Camera DV DSLR Cameras
Sentiment score: 3
Number of reviews: 7
Transformable design for different shooting style, easily adjust into different shooting mode; Provide stabilization during video production; The Handles with rubber grips give your arms rest while shooting.Lightweight and compact design for easy carrying; Bottom plate have a 1/4" thread for connect...
26. Fotodiox Lens Mount Adapter - Nikon Nikkor F Mount D/SLR Lens to Canon EOS (EF, EF-S) Mount SLR Camera Body
Sentiment score: 3
Number of reviews: 7
Mounts Nikon Nikkor F Mount D/SLR lenses to Canon EOS (EF, EF-S) Mount SLR CamerasHigh-tolerance precision craftsmanship; infinity focus or beyond allowedAll-metal design; hardened anodized aluminum constructionPremium grade Fotodiox adapterLimited 2-Year Manufacturer Warranty
27. Master Shots Vol 1, 2nd edition: 100 Advanced Camera Techniques to Get An Expensive Look on your Low Budget Movie
Sentiment score: 2
Number of reviews: 7
Michael Wiese Productions
28. TASCAM DR-05 Portable Digital Recorder (Version 2)
Sentiment score: 10
Number of reviews: 7
Discontinued Model replaced by Improved DR-05XBuilt-in omni-directional microphonesStereo mini headphone jack for external stereo microphones (provides plug-in power) / External line inputTempo change (VSA) function for adjusting the speed from 0.5 to 1.5 times (in 0.1 increments)Chromatic tuner, Po...
29. Blackmagic Pocket Cinema Camera with Micro Four Thirds Lens Mount
Sentiment score: 21
Number of reviews: 7
Blackmagic Pocket Cinema Camera lets you use the most incredible range of Micro Four Thirds lenses. This product does not include a lens; compatible Micro Four Thirds lenses are available separately.High Resolution Display: The extremely high resolution 3.5 LCD allows you to monitor while shooting a...
30. Canon EF 50mm f/1.4 USM Standard & Medium Telephoto Lens for Canon SLR Cameras - Fixed
Sentiment score: 13
Number of reviews: 7
Standard focal length 50 millimeter lens is effective in a multitude of shooting situations and ideal for day-to-day shootingElements/Groups: 7/6; Diaphragm: Blades 8; Filter Thread: Font 58 millimeter. Minimum focusing distance: 17.8 inchAn f/1.4 maximum aperture provides clear imaging in low light...
31. Neewer Portable FilmMaker System With Camera/Camcorder Mount Slider, Soft Rubber Shoulder Pad and Dual-hand Handgrip For All DSLR Video Cameras and DV Camcorders
Sentiment score: 5
Number of reviews: 6
Lightweight for mobile film-making, suitable for long-hour continuous workCustomized design for adding/replacing component(s) in some specialized occasions for film-makingErgonomic design, angle and position adjustments enabledCan be installed with video-capture series of related accessoriesSuitable...
32. Canon EF 50mm f/1.8 II Standard AutoFocus Fixed Lens - White Box(Bulk Packaging)
Sentiment score: 5
Number of reviews: 6
Superb lens featuring superb quality and portability.f/1.8 speed makes it perfect for available-light shooting.Ideal lens to accompany a zoom when shooting in low-light conditions.Compact and affordable.
33. TASCAM DR-60D Linear PCM Recorder for DSLR Filmmaking and Field Recording (Discontinued By Manufacturer)
Sentiment score: 6
Number of reviews: 6
High Quality HDDA (High Definition Discrete Architecture) Mic Preamp, Upgraded AD Converters and Clock Crystal2-XLR-1/4" Combo Locking Inputs with +48V Phantom Power and 1 Stereo 1/8" Input with Plug-In Power4 Channel Recording up to 96kHz/24-Bit and Multiple Record Modes including TASCAM's Dual "Sa...
34. Fotasy Manual Canon EF EF-S Lens to M43 Adapter, EF Mount to MFT, for Olympus E-PL8 E-PL9 E-M1 E-M5 E-M10 I II III E-PM2 E-PM1 Pen-F E-M1X/ Panasonic G7 G9 GF8 GH5 GX7 GX8 GX9 GX85 GX80 GX850 G90 G91
Sentiment score: 4
Number of reviews: 6
Solid Canon EF to MFT adapter/EF EF-S to micro Four three mount converter allows Canon EOS EF EF-S lens to fit on Olympus/Panasonic micro 4/3 Mirrorless Digital CamerasInfinity FocusThere is no electrical contacts in the adapter ring Automatic diaphragm auto-focusing or any other functions will not ...
35. Fancierstudio DSLR RIG with Follow Focus Matte Box by New Model Fancierstudio FL02M
Sentiment score: 3
Number of reviews: 6
Gears Nylon and ABS Dial Index Adjustment : 360 degreesMattebox Material: ABS Follow Focus Mounts onto 15 mm Rod SupportCompatible with industry stand 15mm rods Shoulder PadGear drive can be mounted from both side Suitable for: All DSLR cameras,video cameras1/4“ female adapter at bottom Lens Max s...
36. Directing Actors: Creating Memorable Performances for Film & Television
Sentiment score: 3
Number of reviews: 6
Michael Wiese Productions
37. The Location Sound Bible: How to Record Professional Dialog for Film and TV
Sentiment score: 4
Number of reviews: 6
Michael Wiese Productions
Hey, I'll try and answer as best I can, but others may have better or more accurate descriptions than me.
But as for what makes a camera better? I would say control. The more functions you can control on a camera, the better. This is why DSLR filmmaking is so popular currently, because they have access to functions that many cameras don't have. Focus, Aperture, White Balance, Lens choices, etc. Being able to access all of these gives you more options as a filmmaker, which is what we all want, creative freedom, we all hate when we are limited by technology.
Now many people talk about shooting Film vs Digital, or whether or not you are recording in RAW format for digital. A lot of this has to do with preference vs quality of camera.
So I would say that a camera that is easy to control is the best. Hopefully I mostly answered that, if you want a more specific answer, just let me know and I'll try my best, otherwise hopefully someone else jumps back in here and describes it better.
I would recommend a small light kit, you can spend as much as you want on film lights, but don't feel ashamed to buy a few lights from Lowes or Home Depot. Lighting is a very important piece to making movies. I would also look into getting some reflectors, there are some really cheap ones on Amazon. I have found these to be helpful when shooting outdoors, since lower end lights are almost unnoticeable in the sun.
Here is the one that many early filmmakers ignore, Audio. Grab a nice microphone and get some good sound with your video. The Rode NTG 2 is a pretty good mike. It's cheaper while still getting good sound. The ME 66 is a bit more expensive, but it's a hotter mike and gets better sound. Both are really good options. To go with your mike, if you have a little extra spending money, I would completely advise getting a Blimp. This Rode Blimp is great! If you want to shoot outdoors in the wind at all, this is the best option, otherwise you may have to re-record all the voice over in post.
~
This post is getting a little long here, so I'll throw a summary at the end with a couple more items.
Camera: Get a Camera, Lenses, Case, Tripod.
Lighting: Get a couple Lamps, Reflectors, Filters, Light Stands.
Audio: Get a Microphone, Boom, Blimp, XLR Cable, Recording Device, Headphones.
There is always more, but these would be a good starting point. Not everything I recommended is needed to get started though.
Okay! With those parameters, assets, and budget, you have two good options.
The first, and probably easiest, will be doing exactly what /u/MacintoshEddie has suggested and throwing $400 at a local filmmaker and seeing what they can do with your well developed idea.
The second is, in my opinion, more fun, but it'll also require you to learn a little about filmmaking yourself.
The good news is, you already have most of the tools you need to create a "my first documentary" video and do it well. The camera on the iPhone 7 is better than any camera you're going to purchase below $200, and if you drop a couple bucks on a tripod and iphone adapter you're going to be set.
The biggest downside for you will be audio. Audio is the thing most fresh-faced filmmakers overlook, but it's just as-- if not more-- important as video quality. The onboard microphone in the iPhone is oooookay, but if you're more than 3 feet away from your subject, it'll get dicey. And unfortunately, this is the only place the iPhone falls short of a $250 Canon t2i.
Traditionally, there are two ways to do audio: in-camera and synced. In camera is when the audio and video are recorded together inside whatever camera you're using. This is a little tricky for the iPhone, because it's harder to attach a decent microphone. There are ways, but I'm not fluent in them. If this were a DSLR like the t2i mentioned above, I'd suggest you drop $150 for a Rode Videomic and call it a day. Since that's not an option (that I know of-- there might be a 3.5mm microphone jack adapter for the iPhone 7!), we need to look at the second audio solution: synced.
Synced audio is when you record the audio and video separately, and then synchronize them in post production. First off, post production is a fancy way of saying "editing the video." For professionals, there's a whole lot more than just editing, but for you, this'll be when you're bringing the footage onto your macbook and likely editing in iMovie.
For synced audio, the best option will be purchasing an $85 Tascam DR-05, a cheap microphone boom stand, and this adapter. Attach the DR-05 to the boom, throw something heavy on the base of the stand, and you'll have a good setup to capture audio for interviews and stationary events. However, you will need to "slate" each shot.
A slate is that black and white clapper board you see whenever film is depicted in media. It's purpose to to create a spike in the sound, as well as a visual indicator, so whoever is editing the footage can synchronize the audio and video. You can get away without a slate by simply clapping your hands in front of the camera.
If you go this route, I would suggest ONLY trying to do audio for interviews, and maybe stationary events where your camera won't move around. The audio captured on your iphone for "action" shots or "in the wild" shots will be okay as long as you have decent quality audio for the interviews. This will also save you time while editing, because syncing audio is a pain in the butt.
Now, if you haven't been scared away yet, and still want to spend a little money to make those interviews look extra-sexy, imma talk about some of my favorite lights on the market right now.
I've thrown together a $180 light kit for you that'll help you light your subjects in most lighting conditions. I use the YN600 Air for a key light (main light), and the YN300 for a fill light (remove unwanted shadows, dark background, etc). They're not as bright as some other LED options, but you won't need to worry about modifying the light at all. The YN Air series does a wonderful job of creating a nice, soft lightsource that won't screw with skintones or create harsh shadows. I've also thrown in two good stands that include a bag, and two power adapters to run the lights. If you want, you can spend an extra $60 on NPF batteries and chargers (I'd suggest these and then these ) to make the lights completely mobile). In addition to being excellent video lights, I've found I also keep my 300 set up in my room as a evening reading lamp!
Obviously, the lighting isn't necessary, but I promise you it'd be worth the investment when it comes to the final quality of your video. Both have an extremely easy learning curve, produce excellent results without needing to set up screens of diffuse, and their size makes them an afterthought when traveling.
So now that you're overwhelmed with all that info, let me recap!
Option 1) Have someone else do it!
Pros: You need to learn less, less stressful, less time spent on your end
Cons: Limited scheduling flexibility, $400 won't secure someone for months-on-end
Option 2) Do it yourself!
Pros: Complete control over the final product, working on your own time without worrying about other people, and new toys!
Cons: way more work, way more learning
Overall, you have two solid options to make this work. You could even combine the two: get the tripod and grab "on site" shots while paying someone else to produce your interviews. You'd still be up for editing, but you wouldn't have to worry about the nicer quality audio/syncing. With either option, you're going to end up being the producer/director of this video, which means you'll be doing the scheduling and coordinating, as well as creating the idea and communicating it exactly to everyone else you're working with.
Even though this may all seem really overwhelming right now, the best way to get the documentary done is to simply start working on it. Write up a summary of your vision, start asking around, and trust yourself to create something good. This subreddit is an excellent resource, as well as plenty of youtube channels and other forums out there. Additionally, if you ever have any questions, don't hesitate to shoot me a message. :)
> im not filming full length films but short scenes and sketches.
You've gotten some good advice here, but it sounds like you already have a camera and want to upgrade to something that will give you better image quality and will last for a few years?
If so, here are the two best video capable cameras in your price range (in my view) [Referral Links]:
I own both of these cameras, and both produce awesome video images - but each has its advantages and disadvantages.
If you really want to learn cinematography - and you don't need a still camera, I recommend the Blackmagic Pocket Cinema Camera. It is the least expensive interchangeable lens camera you can buy that records to RAW or 10-bit ProRes with 13+ stops of dynamic range - straight out of the box. Like Pro cinema cameras, it sets the shutter in degrees rather than fractions of a second and has a built-in headphone jack so you can monitor your audio track (only one other interchangeable lens camera below $1000 has a built-in headphone jack - the Panasonic GH3).
With a [$10 cold shoe] (http://www.amazon.com/gp/product/B00HJFBUCQ/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00HJFBUCQ&linkCode=as2&tag=battleforthew-20), a [$24 pistol grip w trigger] (http://rover.ebay.com/rover/1/711-53200-19255-0/1?icep_ff3=2&pub=5575034783&toolid=10001&campid=5337235943&customid=&icep_item=221603818145&ipn=psmain&icep_vectorid=229466&kwid=902099&mtid=824&kw=lg), a [$159 LCD viewfinder] (http://www.adorama.com/LCDVFBM.html?KBID=66297), a [$70 external battery adapter] (http://www.amazon.com/gp/product/B00LPJ1FJ0/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00LPJ1FJ0&linkCode=as2&tag=battleforthew-20), a couple of [$10 batteries] (http://www.amazon.com/gp/product/B0007Q9PWQ/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B0007Q9PWQ&linkCode=as2&tag=battleforthew-20) and a [$17.50 dual battery charger] (http://rover.ebay.com/rover/1/711-53200-19255-0/1?icep_ff3=2&pub=5575034783&toolid=10001&campid=5337235943&customid=&icep_item=321347920244&ipn=psmain&icep_vectorid=229466&kwid=902099&mtid=824&kw=lg) [Referral Links] - you'll have the best cinema camera in its class.
Here's what my setup looks like, ready to shoot: https://lh6.googleusercontent.com/-f3hbYYV_y8o/VHDp77GMxoI/AAAAAAAAJF8/xnHRvNcCm5o/w724-h543-no/P1020575.JPG
Here is what this little powerhouse cinema camera can do:
Narrative
http://vimeo.com/89563847
http://vimeo.com/94798326
http://vimeo.com/101576471
Documentary
http://vimeo.com/83284391
Music Video
http://vimeo.com/88103618
Travel/Low Light
http://vimeo.com/79531723
There are lots more examples in the [Pocket Cinema Camera group] (https://vimeo.com/groups/pocketcamera) I moderate over on Vimeo.
Although it has a steeper learning curve than a consumer camera, and color grading in post is pretty much mandatory - this is absolutely the best filmmakers' camera in this price range.
Second choice:
If you want something that is a little easier to use, the GH3 might be a better choice. With its built-in electronic viewfinder that continues to work while you're shooting video, 1080/60p frame rate for slow motion, up to 72mbps recording and all metal splash resistant body - this is a great video/still camera for the price.
Here is what the GH3 can do:
Narrative
http://vimeo.com/49420579
http://vimeo.com/59543338
Music Video
http://vimeo.com/53834993
http://vimeo.com/96861718
Documentary
http://vimeo.com/66940018
http://vimeo.com/54076272
There are many more examples on Andrew Reid's GH3 channel over on Vimeo: https://vimeo.com/groups/gh3
And, unlike the BMPCC, it can produce still photography results like these: https://www.flickr.com/groups/gh3/pool/
Hope this is helpful and good luck with your filmmaking career!
I often see questions like “How do I become a screenwriter?” or "How can I write a screenplay?"
So here’s an answer you can read in five minutes or less.
Read at least two screenwriting “how-to” books
For example, you could try:
I think it’s a good idea to read more than one book because you don’t want to get the idea that there’s only one right way to write a screenplay. Different authors have different approaches that you may find more or less useful.
TAKE NOTES ON WHAT YOU LEARN.
Read at least five professional scripts
You can often find them by googling the name of the movie along with “PDF.”
You can also try Simply Scripts and The Internet Movie Script Database (IMSDb).
Your reading list should include scripts for movies that have been made in the past five years, so you can see what styles are current.
TAKE NOTES ON WHAT YOU LEARN.
One thing you should notice is that professional scripts have certain things in common. For example, they almost all have sluglines that look something like this:
EXT. RAIN FOREST – DAY
Some writers put sluglines in bold (which is a current fashion), and some don’t.
You should also notice that other things are different. For example, some writers use CAPS for objects and sounds a lot more than other writers do. Some writers write long, detailed descriptions of locations; others don’t.
One reason for this exercise is to get a sense of what a professional script looks like – what’s “standard,” and what’s more a matter of individual taste/style.
Another reason to read a lot of scripts (especially award-winning ones) is to get a feel for what “good” looks like.
Think about how these pro scripts follow (or not) the “rules” in the books you’ve read.
Follow along in the script as you’re watching the movie
Notice how words on a page translate into sights and sounds on the screen.
Notice how much detail is written out by the screenwriter, and how much is left to others (like the costume designer, set designer, or fight choreographer).
Come up with a screenplay idea/story
A good source for help with developing commercial story ideas is Selling Your Story in 60 Seconds.
Or read this blog: https://lauridonahue.com/fantastic-ideas-and-where-to-find-them-stps-5/
It can be helpful to put your idea into logline form. One basic model for loglines is:
>[Type of person or group] must [do or overcome something] in order to [achieve some goal].
You can also add details about where and when the story takes place, if relevant.
For example:
>A long time ago in a galaxy far, far away, a restless farm-boy must rescue a princess and learn to use his supernatural powers in order to defeat an evil empire.
Create a beat-sheet
A beat-sheet is a short (1-2 page) outline of what happens in your script.
For example, you can use the famous/infamous Blake Snyder “Save the Cat” Beat Sheet.
The books you’ve read may have other models for this.
Some people don’t like outlining. They just like to jump right into the story and start writing. How you work is up to you. But you may find that having an outline will let you know if you’ve got enough story (or too much), keep you on track, and save you from wasting time.
Write a treatment or a scriptment
A treatment or scriptment is a longer kind of outline.
Again, you may prefer just to dive in. It’s up to you.
Try to write a screenplay
It’s a good idea to get script formatting software, like Celtx or Highland or Final Draft. If you try to write a script in Word or another standard word processing program, you may drive yourself nuts dealing with format issues, and the end result may not look professional.
Or, just can write your first draft in a notebook, and do your second draft using formatting software. (I decided I wasn’t going to spend money on Final Draft until I proved to myself I could finish a first draft by hand.)
If you finish, congratulations. You’re now a screenwriter. Most wannabes never make it to that point.
However, your script probably isn’t very good. Most first scripts are awful.
What if you want to be a GOOD screenwriter?
Then you’ve got a lot more work ahead of you.
Put the script aside
Don’t work on it for at least a week. You want to be able to see it with fresh eyes.
Don’t show it to anyone yet, however much you want people to tell you how awesome it is.
This would be a good time to start working on your next script.
Rewrite
Look back at your notes from the screenwriting books and scripts you read. Think about what makes a script good.
Compare your script to the professional scripts, in terms of format, structure, dialogue, pacing, description, action, etc.
Re-read the chapters on revisions in the books you read.
Read a book like Making a Good Script Great and apply what it suggests.
Rewrite again and again and again until your script is as good as you think you can make it.
Get feedback
Do NOT get feedback on your first draft. Get feedback on your BEST draft.
So where do you get feedback?
Whatever you do, don’t be a douche about the feedback you get. Accept it with THANKS and graciously, even if you think the reader is an idiot for failing to recognize your genius.
And before you ask anyone for free feedback, read this – and don’t be that guy.
Rewrite again and again and again
Again, in between rewrites and while you’re waiting for feedback, put your script aside and work on more scripts.
You could experiment with different formats (feature, TV, short, webisode, etc.), genres, and styles. Discover where your strengths and interests lie.
Get more feedback; revise; repeat
Repeat as needed until people who know what they’re talking about (not your buddies, not your mom) say it’s good, and/or you start placing in contests like the Nicholl and Austin and/or getting 8s and up on The Black List.
Keep in mind that it may take years, and many drafts of many scripts, before you get to this point… if you ever do. (Most people don’t.)
If you do make it that far – congratulations again! You’re now a pretty good screenwriter.
(If you like this, please subscribe to my blog: https://lauridonahue.com/how-to-become-a-screenwriter-in-five-minutes-or-less-stps-4/)
Edit: this isn't mine it's Seshat_the_Scribe but it should help
I think others have said it, but your best bet is to forget about the camera and start with what you have. Even cheap phones work well enough for youtube as long as you can pump enough light into them. You are better off concentrating on the rest of your kit first.
Audio is the most important part of your video. Nothing will make someone skip your videos faster than having terrible audio quality, especially if you are wanting to do ASMR and mukbangs. If you are going to blow your budget somewhere I recommend going big on your audio. For starter mics I recommend the Audio-Technica AT875R. It is a killer mic and the best bang for the buck mic I have found so far. You will need a recorder, but to save money starting out you can record directly to your computer using a cheap phantom to usb adapter and Audacity.
https://www.amazon.com/Audio-Technica-AT875R-Gradient-Condenser-Microphone/dp/B000BQ79W0/
https://www.amazon.com/Neewer-1-Channel-Microphone-Condenser-Recording/dp/B076WF7DSP/
The other thing you will need starting out is light. Your footage is going to look terrible if you just record with available light inside. There are alot of cheap led lights out there but for the most bang for the buck I recommend going the DIY route. A pack of high cri led bulbs is cheap and will give you more light than any similarly priced panel will. You will need a trip to a home improvement store for a fixture and extension cord. I think FilmRiot has a tutorial on this setup, and you can even build a dimmer into the cord for about $10 more. Then you can diffuse the light through a frosted shower curtain for great soft light.
https://www.amazon.com/TORCHSTAR-Dimmable-Equivalent-1600lm-Daylight/dp/B07JMP9K7W/
https://www.amazon.com/Nuvo-SF77-193-Polished-24-Inch/dp/B01F4DSYDM/
https://www.amazon.com/Woods-General-Purpose-Extension-Black/dp/B000KKJUHE/
https://www.amazon.com/GE-Dimmer-Rotate-Almond-18020/dp/B002DNG3EE/
https://www.amazon.com/Hubbell-5320-2-Weatherproof-inches-Bronze/dp/B000BW3EK0/
The last thing you will need is a tripod for your phone. You aren't shooting anything that really needs or would benefit too much from alot of movement, so a gimbal or steadicam is just overkill and unnecessary. There are a million tripods out there, but for the sake of consistency I will link to one I found.
https://www.amazon.com/Acuvar-Aluminum-Universal-Smartphone-Smartphones/dp/B00SHJPMEU/
So there's the kit I would put together if I was starting out again. It will give you a great foundation to grow from and when the budget appears for a better camera it will still help you out (I still use my DIY lights in my home studio even now that I have a trunk full of much better lights). I'm not sure what you have lying around to make this cheaper, but by my rough maths you are looking at about $350 USD for everything on my list, and you could probably hunt around and get it even cheaper.
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As to editors, I recommend ponying up the bucks for Adobe. It's a little expensive, but it's better to spend a little now rather than spend the time learning a cheap or free NLE and then having to relearn Adobe down the road if you decide to up your game. If you absolutely don't have the budget both Hitfilm's and Davinci have a free version that is pretty solid.
​
edit: forgot to mention software.
There are a lot of great books on film out there. Don't listen to other possible saying watch YouTube or wrote your own screenplay. Well, do those things too, but learn some wisdom from some of the masters while you're at it.
You are going to want to read the following:
Hitchcock by Truffaut (http://www.amazon.com/gp/aw/d/0671604295). One of the greatest directors of all time, interviewed by another of the greatest.
In the Blink of an Eye by Walter Murch (http://www.amazon.com/gp/aw/d/1879505622/ref=aw_d_detail?pd=1), one of the greatest editors ever. A pretty great director too.
On Directing Film by David Mamet (http://www.amazon.com/gp/aw/d/0140127224). A great book on directing by one of the great writer/directors.
Rebel Without a Crew by Robert Rodriguez (http://www.amazon.com/gp/aw/d/0452271878). He wrote this after El Mariachi, before he went on to big budgets. It's one of the most inspiring books you'll ever read-- you'll want to make a film tomorrow. Basically, how to make a movie wit nothing but enthusiasm.
It is a tough industry in many ways, and built around some very specific cities. One decision you should make is what exactly you want to do in film. If you want to be an artist and create your own films, you don't necessarily need to go to film school or even work your way up in the industry. There is lots of cheap gear available. Chances are you have more than enough film making gear right now in your phone and PC, more than you could have dreamed of affording 20+ years ago- when film was film.
So if you want to work in the industry, it will mean 'paying your dues' and might mean never getting to make a film on your own - schools, training programs, etc... are a good idea. You might be poor for awhile, you might have a job so busy and high pressure that at the end of the day more film work (even on your own dream projects) might be the last thing you are interested in doing. Another approach is to come up with a solid day job outside of the industry so that you can pursue your own creative pursuits on the side until such time as they pay off. If you have to count on film making to pay the bills, you would be very fortunate to direct corporate videos and cooking shows and stuff you might not really feel. You will be so close to your dream, but so far away at the same time and that can be frustrating - depending on your goals. If you want to make films on your own terms, you can and should start right away. Don't feel bad if the first 5 or 10 of them are terrible. You are working the bugs out. Read Lumet, a bit of Mamet, and some Rodriguez. Watch a lot of Making of docs on Youtube.
​
Robert Rodriguez wrote El Mariachi with a bit of a brilliant approach. He listed all the interesting ('expensive') things he had access to through his friends (a pit bull, a bus) and incorporated those in his script so it looked a little more big budget. If you write a helicopter landing on a bridge, you would have to pay for it. If your grandma has access to a tennis court and your uncle has a dirt bike - write that instead, and you could pull it off for free. Don't get caught up buying gear, use what you have. You don't need to use lacking gear as an excuse for not making something, and don't need to use buying gear as a replacement for being creative. I have seen that a lot in film, photography, and music. You could hypothetically make a great film for free as a flip book on a pad of paper, and if you do you could show that to people that would help pay for more gear if you need it. Anyway, ramble ramble - free advice is usually worth what you pay for it. Good luck!
I'm not the best person to be giving advice, but I just dropped out of film school last year (I was only there for a year) and have begun making some progress on my own.
First of all, watch a lot of movies. Literally the only thing I miss about school was having access to so many classic films playing in the theater every weekend. Netflix can be just as good, however. But never stop going to the theater.
Secondly, read. Look up some textbooks that film classes use. I really enjoyed Shot By Shot and On Directing Film, since I want to be a director.
Thirdly, and most importantly. Make films. Try to work on projects all the time. Your projects, your friends projects, random web series that post on facebook asking for free crew members.... it doesn't matter. Stay surrounded by film, because that's another one of film school's biggest strengths. It can be difficult to stay motivated when you don't have a GPA looming over your head.
Again, I'm by no means a success so take my advice however you will. Good luck!
Gonna try to give you a good answer here, but understand that you get what you pay for. The a7sii is a great camera but if you load it up with a bunch of shit accessories you should expect sub par performance.
I've bought a ton of gear over the years for both myself and for my company and it really comes down to you get what you pay for. You can spend $1000 finishing out your kit and expect that to get you a year or two of decent use. Or you could invest in better equipment that will last you for many years to come, and perform better while doing it. There's nothing more frustrating than a cheap piece of gear that you're always fighting only to have it break anyway.
(Not the original commenter, but I thought I could help out a bit)
I'm sorry if I come off as mean or anything. I'm really just trying to help you become as good a filmmaker as you can be. Don't be discouraged and I urge you to just keep making films (practice practice practice).
Let me know if you have any questions.
There are a few other options I would recommend, but they cost more [Referral Links]:
Panasonic GH3, the G6's "big brother" - this camera adds a headphone jack, an all-metal splashproof body and higher quality, higher bit rate recording up to 72mbps (but loses focus peaking and NFC) - [on sale for <$700 body-only] (http://www.amazon.com/gp/product/B009B0WREM/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B009B0WREM&amp;linkCode=as2&amp;tag=battleforthew-20) right now.
Here is what this camera can do:
Narrative
http://vimeo.com/49420579
http://vimeo.com/59543338
Music Video
http://vimeo.com/53834993
http://vimeo.com/96861718
Documentary
http://vimeo.com/66940018
http://vimeo.com/54076272
There are many more examples on Andrew Reid's GH3 channel over on Vimeo: https://vimeo.com/groups/gh3
And it can produce still photography results like these: https://www.flickr.com/groups/gh3/pool/
Next step up for filmmakers, in my view, would be the [$800 body-only Blackmagic Pocket Cinema Camera (BMPCC)] (http://www.amazon.com/gp/product/B00CWLSHUK/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B00CWLSHUK&amp;linkCode=as2&amp;tag=battleforthew-20).
You would lose the Panasonics' electronic viewfinder and ability to take still photographs - but you would gain the widest dynamic range (13+ stops) and highest recording quality (220 mbps bit rate, 10-bit color for ProRes, higher for RAW) that you can get below $1000.
Like the Panasonic GH3, this camera has a headphone jack. But the battery life is horrible and the LCD screen is dim, so it absolutely requires an external battery and LCD viewfinder to make it usable - but the images are so good, the workarounds are worth it.
Here is what this camera can do:
Narrative
http://vimeo.com/89563847
http://vimeo.com/94798326
http://vimeo.com/101576471
Documentary
http://vimeo.com/83284391
Music Video
http://vimeo.com/88103618
Travel/Low Light
http://vimeo.com/79531723
There are lots more examples in the [Pocket Cinema Camera group] (https://vimeo.com/groups/pocketcamera) I moderate over on Vimeo.
Although the BMPCC has a steeper learning curve than a consumer camera, and color grading in the editing suite is pretty much mandatory - this is absolutely the best filmmakers' camera in this price range.
I own the GH3 and the BMPCC and recommend them both, depending on whether you need to be able to:
Hope this is helpful and best of the holidays!
Hi /u/mobalatero - the Canon EF 50mm f1.4 is a beautiful piece of glass and I would keep it. Here's why - these beautiful 4K images were shot with a Canon EF 50mm f1.4 lens adapted to the GH4 (the heron shot is with a Canon EF 100mm macro - please watch at your monitor's highest resolution): http://youtu.be/YTOZaYMwHg8
You'd be hard pressed to match the quality of these images with another lens.
You have seven options for adapting Canon EF lenses to micro 4/3 (that I am aware of) - some of them very affordable. Here they are from least expensive to most expensive [Referral Links]:
When adapting Canon lenses, you should remember that the GH4's 2x crop will make the lenses "twice as long" - so your 50mm will have the same FOV as a 100mm lens on a full frame camera.
That's why I recommend you get the $94 focal reducer to turn your 50mm f1.4 lens into a "35mm f1.0" with a ~70mm full frame equivalent field of view (very close to what it looked like on your 60D). With a [$12 variable ND for the 58mm filter thread on your lens] (http://www.adorama.com/RR80900001.html?KBID=66297) to stop it down, you will have a great starter lens for your GH4 for not a lot of money.
Hope this is helpful and best of luck with your new GH4 - it's an awesome camera!
Bill
The Rode Videomic Pro might be useful, but it (or anything like it, that plug directly into the camera) is not going to have quite the same audio quality as an XLR mic. If you have the budget for it, I would suggest the Audio Technica AT875r with a Zoom or Tascam, and get a hot shoe mount if you want it mounted on the camera. Part of the reason for this is that having a separate mic will allow you to do more in the future, while still allowing it to be camera mounted when desired. It also will make it easier to capture foley for your film easier, allowing you to mic footsteps and clothes rustling, breaths, etc... Third, the quality and pickup will be a bit better.
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In short, if you have the budget for it, a broader setup will be more effective, especially in the long run. If you don't have the budget for it, a camera mounted mic will still work, but you will likely need to upgrade in the future. If neither are in your budget, it is possible to get someone to do foley for you and add it in, or find someone in the area who has a mic to record the audio for you (even paid, this will likely be cheaper if the shoot only lasts a day, but you may be able to find someone willing to work for free if they are just starting out).
Seems like a decent kit, a tad expensive maybe for what you actually get though, but I'd invest in some grippage either way so you can shape the light. While softboxes do provide nice large, soft sources, they result in a lot of spill. Maybe get a couple sets of these and rig them with these if you can with extra stands. If you can get your hands on some duvetyne and blackwrap you could also probably make some DIY solid flags and barn doors. Basically, to make it look good, you'll want to sculpt the light, not just turn them on and point them in the right direction.
If you do end up using that kit, also be weary of using the provided fluorescent globes as they'll probably have a green shift to them. Easy to correct this if they're your only light source with a FLT filter for your lens but if you're going to be competing with daylight you should have some minus/plus green gel on hand to match them. As far as I know, those kinds of fluorescent globes can't be dimmed (if they are they start flickering) so if you want to be able to control the light output that way you should use incandescent (if you can find any) or halogen globes, some hand squeezers (dimmers) and some CTB/CTO gel in various strengths.
Absolutely. I started with a Neewer stabilizer, I've yet to invest in a motorized gimbal myself, as those go for upwards of $600 for a decent one. For short docs I find myself using a shoulder rig the most, and for a shoulder rig I started with the Neewer brand as well. This brand was my best friend starting out lol. The stabilizer/glidecam will take a tinsy bit of practice but this particular one has served me very well personally. YouTube search the gear you're eyeballin, see what others say, and you'll surely make the best choice suited for you. Cheers!
https://www.amazon.com/dp/B00NJKJ1IA/ref=cm_sw_r_cp_apa_0tLLzbKA1ZE19
https://www.amazon.com/dp/B00GTMBA7K/ref=cm_sw_r_cp_apa_IzLLzbHH9G1YM
So a few months ago, I gave myself a budget of $5000 for everything I’d need to be a One Man Video Army. Besides an empty Lowell hard case and a pair of headphones, I had nothing in the picture above before commencing the buying spree. The grand total ended up coming to around $5500 or so but I’m pretty stoked to have stuck fairly close to my initial budget.
Here's a detailed list of everything in the picture above:
ITEM | WHAT I PAID | COST NEW | LINK TO BUY NEW
:-- | :-- | :-- | :--
Panasonic GH5 w/Rode Videomic Pro, 2 SD cards and batteries|$1,000.00|$1,500.00|B&H
Lumix 12-35mm 2.8|$550.00|$900.00|Amazon
Mitakon 25mm 0.95 Prime|$300.00|$350.00|B&H
Sigma 50-100mm 1.8|$750.00|$1,100.00|B&H
Tokina 11-16 2.8|$250.00|$400.00|B&H
Viltrox EF-M2 Speedbooster|$150.00|$200.00|B&H
Manfrotto 502 Video Tripod|$400.00|$400.00|B&H
Tripod Bag|$25.00|$25.00|Amazon
Panasonic XLR Adapter|$300.00|$400.00|Amazon
Sennheiser Wireless Mic System|$450.00|$600.00|Amazon
LowePro Camera Bag|$75.00|$75.00|B&H
Neewer 3-Light LED 660 Kit w/Fovitec stands|$350.00|$350.00|Amazon
Kessler Slider w/tripod head|$400.00|$900.00|B&H
Hoya 43mm Filter Kit|$35.00|$35.00|Amazon
Hoya 58mm Filter Kit|$40.00|$40.00|Amazon
Feelworld F570 Monitor|$200.00|$200.00|Amazon
Zoom H6 Recorder|$250.00|$400.00|B&H
Neewer 5-in-1 Reflector|$20.00|$20.00|Amazonn
Given my budget, there really wasn’t much debate over what camera would best suit my needs. I’m doing a lot of paid corporate and event video work, but I also shoot films and documentaries. So the GH5 made the most sense given its quality, versatility, and value. I can transport and operate all of this stuff without the need for additional crew, which is especially nice when a client doesn’t want to pay for that.
I’ve shot a few films and several paid gigs with this set already and it’s working out well so far. Happy to answer any questions over why I chose one thing over the other. We all have our preferences with equipment :)
Dslr cameras are the best thing in a price range of $4000 or less. The canon t2i is lower end but has huge bang for buck. You really do want an external recorder for them. Dslr audio is horrible but that rode mic will really improve it, just not as much as external recording. The 50mm lens is the best starting point it is very cheap but looks great. You need a tripod for a dslr because they look horrible hand held unless you have a good stabilization rig or steady cam.
Here is a great audio recorder, you'll have to sync up the audio in post but it has great sound. https://www.amazon.com/TASCAM-DR-05-Portable-Digital-Recorder/dp/B004OU2IQG/ref=sr_1_3?ie=UTF8&amp;qid=1495566740&amp;sr=8-3&amp;keywords=tascam . The camera seems pretty good looking at the specs. I personally would prefer having a mirrorless or a DSLR, but camcorders can do some good stuff too.
I went with the AT875r because it lacked the gain issues that the NTG-2 had, but was still pretty affordable. I mostly shoot indoors and that influenced my decision as well. I've been pretty satisfied with it so far, but it is only powered through phantom so I reccommend buying a pack of high capacity rechargeable AAs for your H4n and having spares on you at all times.
Zoom isnt a bad investment, but you might be right. Honestly, don't go gear nuts. Even with the advice i gave above which i think is a way to spend two grand thats not what id do. Id use what I already owned and find some other people and beg borrow and steal as much as i could. Spend that 2 grand on a actual movie, and try and put every dollar on the screen.
I totally get the concept of wanting to have gear for multiple shoots. But I think you will learn a lot from just jumping right in. Shoot a short for 50 bucks with your friends over a weekend. then shoot another for a hundred bucks, and build on that. After that use all you learned with the rest of the dough to make something longer. I know it sounds crazy, but you can do it if you budget and write the script around things you already own and have access to.
More than anything a project you believe in will last longer than any piece of gear.
But if you are dying to buy something start with some simple paper lanterns mixed with a reflector you can get some good looking stuff, great soft light, and you learn some basic lighting skills. You will still need a few stands. But you can get away with a lot with these because they are light. Use practical lamps and natural light to fill out your scenes.
http://www.amazon.com/Hanging-Lantern-Cord-Off-Switch/dp/B007RPRYF0/ref=sr_1_2?ie=UTF8&amp;qid=1452219709&amp;sr=8-2&amp;keywords=china+balls
http://www.amazon.com/White-Chinese-Japanese-Lantern-Diameter/dp/B0026XVQ3Y/ref=sr_1_1?ie=UTF8&amp;qid=1452219709&amp;sr=8-1&amp;keywords=china+balls
http://www.amazon.com/Neewer-43-inch-Collapsible-Multi-Disc-Reflector/dp/B002ZIMEMW/ref=sr_1_1?ie=UTF8&amp;qid=1452219787&amp;sr=8-1&amp;keywords=reflector
Yeah I've used those before, but never owned them because they're a little too expensive for the use I could make of them.
If you're looking to save some money, check out the Rode Smartlav. You could record directly to a smartphone and sync the audio up in post. Might be worth it to you to save $500 (though I'm sure the Sony you linked records at a much better quality).
Books are your friend. It's surprising how much a difference a single book can make.
This series of books is precisely for those who want to get a quick run down on professional looking cinematography: Master Shots - Christopher Kenworthy http://www.amazon.com/Master-Shots-Vol-2nd-Techniques/dp/1615930876/ref=la_B001JOXCNS_1_1?s=books&amp;ie=UTF8&amp;qid=1465496281&amp;sr=1-1
And here is a sort of..."cheat" for reels. Pick a good angle, light it perfectly, and do one monologue (that applies to the location you choose to shoot, be it in a nice dining room or dark alley), all by yourself. It can be anything you want, look for screenplays online if you dont feel like writing or have someone write it for you. No one will care that its just a scene you shot yourself and that it's not an actual film. Simply because they can't tell. What the viewer will see is a single performance done by you under perfect conditions.
Same as AdamPresley said, don't know if it is the best option, but we use the Audio Technica AT897 and it picks up great audio and we don't even use a windmuff.
the price has gone up since I last bought it ($180 4 years ago) and you will need an audio recorder for it. We use the Tascam DR-05. Also, you'll need a mic cable to connect the mic to the recorder.
At the current prices, the items would put you at $350.
But at least it should provide some options and ideas.
Good luck!
https://www.amazon.com/Audio-Technica-AT897-Gradient-Condenser-Microphone/dp/B0002TTN3Y
https://www.amazon.com/Tascam-Stereo-Portable-Digital-Recorder/dp/B004OU2IQG/ref=sr_1_4?s=electronics&amp;ie=UTF8&amp;qid=1519285722&amp;sr=1-4&amp;keywords=tascam+dr-05&amp;dpID=41TtabMYp7L&amp;preST=_SY300_QL70_&amp;dpSrc=srch
I would go with the GH3 because it is simply an improved version of the GH2. The only area the GH2 is better(IMO) is bit rate and even then it is diminishing returns after the 72mbps that the GH3 has so the improve iso performance is more valuable. The headphone out is also pretty helpful and just having a better body is good.
If I were you though I would look into the BMPCC since it is pretty cheap right now at roughly $775. It is a hell of a lot more work though and you should be aware of what you are getting into when you buy it. I would look up tutorials on color grading the footage before actually going with it. Overall it really just depends on how much you want to pay for certain drawbacks of each of the lower end cameras. I think the GH3 is just the most well rounded camera at that price point.
I bought one of these
http://www.amazon.com/ePhoto-Camcorder-DSR-PD198p-ePhotoInc-RL01/dp/B005NJCF7E/ref=sr_1_1?ie=UTF8&amp;qid=1347037668&amp;sr=8-1&amp;keywords=dslr+shoulder
and its works pretty well, it can adjust to a variety of positions and it helps alot with shooting off the sticks.
Also shooting wide helps, I have a t2i and mainly use a tamron 17-50 2.8 for video, it gets very wobbly when at 50 however.
Also, if you already have a tripod this is a simple and easy way to get some stability if you need to do over the shoulder
using a tripod or monopod as a counterweight can help
And some plain ol' walking around with the camera and being mindful of how you are walking, try to learn what muscles to use to better steady a shot while moving around
I'm going to be blunt, but point you in the right way. Honestly, this footage is all so crushed/blown out I wouldn't hire you. I do think, however, that there is a world of low and no budget filmmakers who would love to have your services (no pay) as it's a step above magic bullet.
I'd recommend trying to maximize the data and pulling a look out of it, instead of forcing one onto it with curves and gamma corrections. Less is more in most cases. Alexis Van Hurkman has a great intro book called Color Correction Handbook: Professional Techniques for Video and Cinema.
the t4i and t5i will look almost exactly the same as your t3i. Take your $1300 and get a nice lens or two. This is a great low cost lens: http://www.amazon.com/Canon-50mm-1-8-Camera-Lens/dp/B00007E7JU
This is one of my favorite lenses, maybe consider getting it used: http://www.amazon.com/Canon-16-35mm-2-8L-Ultra-Angle/dp/B000NP46K2/ref=sr_sp-atf_image_1_1?s=electronics&amp;ie=UTF8&amp;qid=1381557947&amp;sr=1-1&amp;keywords=canon16-35mm
This is a better version of the first lens, i love this lens: http://www.amazon.com/Canon-Standard-Medium-Telephoto-Cameras/dp/B00009XVCZ/ref=sr_sp-atf_image_1_1?s=electronics&amp;ie=UTF8&amp;qid=1381558003&amp;sr=1-1&amp;keywords=canon50+1.4
I've never done shooting plans and storyboards before my latest short film and it simply would have been impossible to schedule anything without storyboards and shooting plans. It also helped a lot in post, because of the size of the project. So I'd definitely start using those tools. It doesn't have to be pretty or anything, just so you remember how you wanted it it to be and to show the crew/cast how you want them to act. Here is a teaser for my short film just to show how big it is http://www.youtube.com/watch?v=60ApmSNvhQA ..... BTW. It's also quite satisfying to look at your footage in post and it looks just like you imagined it in your storyboard. Also, I'd recommend you to read this book by Mamet. http://www.amazon.com/On-Directing-Film-David-Mamet/dp/0140127224 It's very good!
I know that I have been taken more seriously when using actual equipment instead of DIY things that I made that practically do the same thing.
Also last February I went to San Francisco to do some corporate videos for a tech start up. We normally would have just used our 5d and 7d because the videos were just interviews in front of a green screen that were going to be broadcast on the internet and probably never seen at a size larger than you would see on YouTube. We didn't want them to ask us "we flew you to San Fransisco to film our video and you brought a picture camera?" so we rented a FS700 just for the looks. When we showed up with that they were impressed and thought it was pretty cool and it made us look better.
At the same time - the pocket camera looks like it is going to be a better camera than most DSLRs. If you do use you could explain to your clients that you have this amazing camera that was designed to be portable and lite weight so that you can get shots other cameras can get while still outperforming other professional cameras because it shoots 12-bit lossless compressed CinemaDNG 1080 HD. Focusing on the advantages of it being small will prime them for it being small. Also that last part talking about the recording will probably just make them think "words I don't know - that must mean it is good."
Another thing that you could do is buy a cheap rail system, follow focus, and matte box (like this one ). The matte box won't do anything for you (it is always nice to have a follow focus) but it will look your camera look more professional. Is it lame that you have to "pimp" your camera so that people take you seriously? Yes - especially when the pocket camera is such an amazing camera. Is it worth it to "pimp" you camera and put on appearances for clients because if you didn't they wouldn't hire you? Yes.
Master Shots Vol 1, 2nd edition: 100 Advanced Camera Techniques to Get An Expensive Look on your Low Budget Movie https://www.amazon.com/dp/1615930876/ref=cm_sw_r_cp_api_u7fUAbJJH26C2
This series is great. Not too technical that you feel like you’re studying for an exam but yet pretty thorough in the why/when/how behind shots and really their explanations of most things they cover. Also don’t get scared by “ADVANCED CAMERA TECHNIQUES” in the title of Vol. 1 if you’re a complete noob. A lot of the shots are relatively simple.
Edit: they’re also fairly cheap. You can get all three together for less than 60 bucks which I feel like is a pretty good price for educational books.
I'd just like to point out that I'm not a film maker in any way shape or form so it would be nice if somebody could verify what I'm about to say.
I've been watching a lot of videos by FilmmakerIQ.com on Vimeo and have learned a lot from them. Anyway, they have a list of recommended books that I haven't checked out yet but would like to. I'll just list them out here:
Painting With Light
Save The Cat! The Last Book on Screenwriting You'll Ever Need
The Hollywood Standard: The Complete and Authoritative Guide to Script Format and Style (Hollywood Standard: The Complete & Authoritative Guide to)
Set Lighting Technician's Handbook: Film Lighting Equipment, Practice, and Electrical Distribution
Master Shots: 100 Advanced Camera Techniques to Get an Expensive Look on Your Low-Budget Movie
Cinematography: Theory and Practice: Image Making for Cinematographers and Directors
The Camera Assistant's Manual
The Makeup Artist Handbook: Techniques for Film, Television, Photography, and Theatre
Special Makeup Effects for Stage and Screen: Making and Applying Prosthetics
Grammar of the Shot (Media Manuals)
Rebel without a Crew: Or How a 23-Year-Old Filmmaker With $7,000 Became a Hollywood Player
Cinematic Storytelling: The 100 Most Powerful Film Conventions Every Filmmaker Must Know
The Five C's of Cinematography: Motion Picture Filming Techniques
Color Correction Handbook: Professional Techniques for Video and Cinema by Alexis Van Hurkman
Colorgradingcentral.com
Lynda.com
I prefer Davinci Resolve Lite as a starting platform but many of the techniques you learn in resolve apply to things as simple as the Fast / 3 Way Color Correctors in Premiere, Final Cut, and Avid. The difference being the color handling, ability to isolate secondaries, masking / tracking, etc.
Learn scopes first, then how to color correct (where skin tone should be on vectorscope / waveform), then learn the creative part of grading.
Grading your images before your shots match is only going to make it worse.
Save yourself time in post: invest in a color checker / gray card /spyder system (a must if you are matching different cameras).
The way you are able to grade also depends on your footage. If it's raw, you can process it differently than if it was shot highly compressed.
I would put color grading up there with sound design. It's complex, time consuming, and adds a ton of production value when done well. BUT, on most full scale productions, it is handled by a team of people.
Use a light touch. Be subtle. "When you do things right, people won't be sure you've done anything at all."
Maybe a few of these
Five of these, though you should sometimes, (I think usually), use China balls instead of the reflector.
Just one of these
Any of these you need that are either Rosco or Manfrotto. I think buying individual ones instead of large packs is smarter.
Clothespins, aluminum foil, and white sheets are all helpful and you can get them at Target.
That's all I use personally, but a lot of professionals, such as Rodrigo Prieto, use these, so if you have a thousand dollars to spare. On the other hand, short of occasional Arris in larger spaces, Roger Deakins tries to use mainly incandescents indoors, often with China balls, or China balls that have had half of them spray painted black.
Inside rigging is easy, but outside, sticking a two-by-four in the hole of a cinder block can work well.
Dont forget to get extension cords, power strips with circuit breakers, and maybe some plug in dimmers, though for incandescents, you should always dim by changing the bulb wattage and for those halogen work lights, they get way orange when you dim.
Also, I didn't include China balls because I could link you to ten dollar ones, or you could get them for a dollar each at Chinese gift shops, dollar stores, whatever.
T3i's can be purchased for 400 to 500 bucks or so. You can find them cheaper on eBay or Craigslist perhaps.
For audio, you have a few options. People really like the Zoom H4N. I have a Tascam 60d that is a bit cheaper new, and works fine (although it eats batteries).
Rode makes some good sub $200 mics that all work fine .
If you need a tripod, don't go too fancy (unless you need fancy). You can get a good new tripod for $40 at Walmart or try Goodwill and get a good cheap one for $4. ( I got a $120 tripod there yesterday for $4)
For the first year of filming corporate videos, I just used hardware store can lights. They cost about $6 each. You can clip them to just about anything, or put them on light stands. You can find light stands for cheap on eBay, or you can do what I did, and use thrift store tripods (3 bucks each) as light stands.
All of that would put you at about $1000
I cannot speak for the GH1 or 2, however I love my 600D/t3i I have got great results from it and have used it on numerous occasions.
It is the only camera I used for this project
And it will be the only camera I shall be using for my projects I have coming up.
With the addition of the Nifty Fifty you can get some great stuff with it.
And of course Magic Lantern
Your camera is fine, you can use that to shoot video. Looking at the specs it doesn't seem to have a mic input. You might try doing a few bit of test footage to see how the sound comes out. If its not that great you could think about getting a separate audio recorder something like the zoom h4n (this will mean syncing the sound at edit time you can do this by ear and eye or use a plug-in like pluraleyes. A good tripod is also advisable. If you get in to doing hand held stuff it might be worth getting one of those camera rigs off Amazon something like this http://www.amazon.com/Fancierstudio-RIG-Follow-Focus-Counterweight/dp/B005UF3G2Y/ref=sr_1_1?ie=UTF8&amp;qid=1419848204&amp;sr=8-1&amp;keywords=camera+rig Unless you have load of $ then you can go for something a bit less shit :D. I have one of these and its not great quality but it really improves hand held shots.
On Filmmaking by Alexander Mackendrick
http://www.amazon.co.uk/On-Film-making-Alexander-Mackendrick/dp/0571211259
It's dated but still has tons of applicable information, plus it's very inspirational to boot. Best book on filmmaking I've read.
EDIT:
And 'Directing Actors' by Judith Weston.
http://www.amazon.co.uk/Directing-Actors-Memorable-Performances-Television/dp/0941188248/ref=pd_sim_14_3?ie=UTF8&amp;dpID=41yw66m-xWL&amp;dpSrc=sims&amp;preST=_AC_UL160_SR107%2C160_&amp;refRID=0YW9TAV40SSECJTQY8ER
u/MacintoshEddy definitely gave some good advice there. I'll throw in something. If you're looking for a cheaper option, I'd recommend the Audio Technica AT875R. I've been really happy with mine.
I've made due with this one, as it's good for the $100 range, but the focus ring is tiny and there's no distance indicator thingy. Again, I've done okay with it so far.
EDIT: Here's my videos, I believe I used the lens in most of the Toy Bombs video and anywhere in my videos where there is more depth of field. Sadly, I didn't use it in the Slenderman video, even though it was night, because I needed to zoom in and out quickly and it's in Las Vegas so, there's light everywhere. Just remember the 50 would have looked way better there.
If you can spend $400, this one has a better focus ring, the indicator, and it lets in more light so you can shoot at night a little better. I have a short that I recently shot using this lens (borrowed) but I haven't released it online yet. (waiting on music) We shot at night using only streetlamps and reflectors and it worked great.
EDIT: Sorry, I can't link the video, since it's not done, but here's a screengrab from Youtube:
Lumet's book is good, but the best practical book I've read is by Judith Westin. She used to teach workshops in LA and I learned the most from her.
Directing Actors: Creating Memorable Performances for Film & Television https://www.amazon.com/dp/0941188248/ref=cm_sw_r_cp_api_YRURAb0Y10FAG
Here are some links for the product in the above comment for different countries:
Amazon Smile Link: this one
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|France|www.amazon.fr||
|Germany|www.amazon.de||
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To help donate money to charity, please have a look at this thread.
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Thanks for the reply!
http://www.amazon.co.uk/Canon-EF-50-1-8-Lens/dp/B00005K47X/ref=sr_1_1?ie=UTF8&amp;qid=1345492272&amp;sr=8-1
Is this the one you mean? I think a prime would work well in film. I don't think there'll be much zooming. If that's the one you recommend, which of the other two would you recommend for photography? Will any work?
French reverses are often dictated by the schedule, or the geography of a pracitcal location.
To save the time expense of a regular reverse (for instance during a conversation), in a french reverse involves shooting the actors on the same background, being sure to give them the opposite eyeline direction, so when the shots are edited together the actors appear to be across from each other, looking at each other.
It can also be done in a practical location when there's only an interesting background in one direction. For instance, on a TV series last year, we shot a french reverse in a scene shot at night on the roof of a parkade in a canyon of highrises. One direction gave an appealing background of glass towers lit up at night. In the other direction, we had the parkade's concrete walls. So, having shot a master favouring the highrise background, we shot coverage looking the same direction to give the appearance that the parkade was surrounded by glass towers.
Film Directing Shot by Shot (http://www.amazon.ca/Film-Directing-Shot-Visualizing-Concept/dp/0941188108/ref=sr_1_1?s=books&amp;ie=UTF8&amp;qid=1376630391&amp;sr=1-1&amp;keywords=film+directing+shot+by+shot) and Directing by Michael Rabinger (http://www.amazon.ca/Directing-Techniques-Aesthetics-Michael-Rabiger/dp/0240818458/ref=sr_1_1?s=books&amp;ie=UTF8&amp;qid=1376630444&amp;sr=1-1) both have, as I recall, info on the french reverse.
awesome, that works. thanks for all the resources.
i also recommend http://www.amazon.com/Directing-Techniques-Aesthetics-Michael-Rabiger/dp/0240818458
if you don't have the $ at the moment, there are other, less legal, ways to obtain the book
As an owner of both a 18-55mm lens and a 75-300 mm lens, I'd suggest those two. I've used the 18-135mm too, and I wasn't really blown away by it. The zoom isn't anything special, and the same thing can be achieved with the 75-300mm lens. Plus, you get a bag and tripod. If I were you, I'd look into shelling out an extra $120-$130 and invest in a 50mm prime lens, which can be found here: http://www.amazon.com/Canon-50mm-Standard-AutoFocus-Lens/dp/B00005K47X/ref=sr_1_2?ie=UTF8&amp;qid=1426302153&amp;sr=8-2&amp;keywords=50mm+lens
as a DSLR filmmaker myself, I'd argue that the 50mm is probably Canon's best kept secret, since you can get some really beautiful looking shots for a fraction of the price of some of the other lenses out there on the market. Hope that helped!
Do NOT go into debt for film school.
If it is payed for, then sure, it should be a lot of fun. But your reel already surpasses 95% of what I see from students who have already graduated film school.
If you are taking out money to go to film school.... dont. Student loan payments are one of the biggest obstacles when trying to launch a freelance career. Also, a film degree doesnt mean dick to most people in this industry. Unless you want to have a 9-5 at a studio or something. And thats stupid.
Use the money to:
or
http://www.amazon.com/Story-Substance-Structure-Principles-Screenwriting/dp/0413715604/ref=tmm_pap_swatch_0?_encoding=UTF8&amp;sr=&amp;qid=
http://www.amazon.com/Screenplay-Foundations-Screenwriting-Syd-Field/dp/0385339038/ref=pd_sim_b_9
http://www.amazon.com/The-Writers-Journey-Structure-Edition/dp/193290736X/ref=pd_sim_b_5
http://www.amazon.com/Save-Last-Book-Screenwriting-Youll/dp/1932907009/ref=pd_sim_b_2
http://www.amazon.com/Making-Movies-Sidney-Lumet/dp/0679756604
Absorb. Read again. Then write and shoot your own movies. It will cost less than film school, it will be MORE fun than listening to failed film makers telling you how to make movies, and it could potentially launch your career.
Also, if you are ever in New Orleans, PM me and I will buy you a beer.
You will never get good audio off a GoPro. You may want to look for a lav-mic option that can run off of an iPhone. Something like this, though I know people will use the hands-free mic that comes with the ear-buds and get okay results. By using a mic close in to yourself, it'll hopefully pick up less ambient noise.
The sad reality, though, is a waterfall is a pretty potent white-noise generator, and you might be better off doing the audio in post. Narrate your techniques over a good mic in a quiet room.
Master Shots is pretty great
Definitely Save the Cat by Blake Snyder. His "beat sheet" is extremely helpful when writing scripts and creating story structure.
Amazon
I can't specifically speak to the Zoom, but what I can tell you is that I use my Rode VideoMic (with the Rycote Lyre suspension) on the Rode boom pole, then I plug that into the Tascam DR-05. I don't have a clip handy to show you an example, but I get great audio out of this combination.
http://www.amazon.com/Shoulder-Camcorder-DSR-PD198p-ePhotoInc-RL01/dp/B005NJCF7E/
I bought this awhile ago and really enjoy it. Although, the DIY ones posted around seem to a good deal on the cheap too
1: It was all natural light, I would have used some reflectors had I owned some so we improvised the best we could.
2: I used a D5100 for the first bit but it crapped out so we went to a D7100 to finish with the same settings. I used both a spider steady as well as a rig available on Amazon here.
A few on sound would be helpful for people as well. I don't know why it's always overlooked by filmmakers it's half of your film.
Here's a few books:
I've used these:
M42
PentaxK
Nikon
and have gotten pretty good results shooting video with my 60D.
https://www.amazon.ca/Screenplay-Foundations-Screenwriting-Syd-Field/dp/0385339038/ref=sr_1_2?ie=UTF8&amp;qid=1474698495&amp;sr=8-2&amp;keywords=screenwriting
https://www.amazon.ca/Story-Structure-Substance-Principles-Screenwriting/dp/0060391685/ref=sr_1_1?ie=UTF8&amp;qid=1474698472&amp;sr=8-1&amp;keywords=story
https://www.amazon.ca/Save-Cat-Last-Screenwriting-Youll/dp/1932907009/ref=sr_1_1?ie=UTF8&amp;qid=1474698480&amp;sr=8-1&amp;keywords=save+the+cat
https://www.amazon.ca/Writing-Movies-Fun-Profit-Billion/dp/1439186766/ref=sr_1_1?ie=UTF8&amp;qid=1474698488&amp;sr=8-1&amp;keywords=writing+for+fun+and+profit
Buy all 4 read them in the above order, The first 3 will teach you everything you need to know. The last one gives great insight into actually making money off of it.
Kit lenses usually just aren't that great. They're built for cheap versatility, so they do nothing particularly well. You would be surprised, though, at how little you have to spend for a decent prime lense. For instance, this is quite a good lens from Canon for under $400 USD. It even has a cheaper counter part for around $120.
Both are good lenses, IMO, and in the opinion of quite a few others around here.
Regarding the follow focus? It's solid. It came with this rig and, so far, I'm really happy with the overall quality.
I'm a big fan of Alexis Van Hurkman's Color Correction Handbook as well, very well thought out and explained color correction technique.
In that case, read the Production Sound Bible. It's a really decent resource for learning location sound. Go shadow a sound person on a shoot. Don't train someone how to do something if you don't know how to do it yourself. Fact is, being a filmmaker means knowing cinematography and sound. The more you know and respect the sound of your films, the more successful you will be as a director, producer, or even AD.
Definitely see if you can get your hands on this book
https://www.amazon.com/Directing-Actors-Memorable-Performances-Television/dp/0941188248
Also there are a lot of YouTube interviews and and behind the scenes videos with directors and actors talking about the process :)
I purchased a Neewer Shoulder Rig a while ago and was surprised how good its build quality actually is. Worth picking up for the price in my opinion.
Alexis Van Hurkmann - Color correction Handbook
http://www.amazon.com/Color-Correction-Handbook-Professional-Techniques/dp/0321713117
Best book there is.
Directing: Film Techniques and Aesthetics by Michael Rabiger and Mick Hurbis-Cherrier.
Such a great book. It contains everything from technical side filmmaking to the art of filmmaking.
Start by learning the basics of color correction and color theory. This and this are great places to start.
Any of the Master Shots books have always been my favorites. If my Secret Santa is looking at my comment history, I sure could use a copy :D
well, TYL :P
Simply put, Nikon (F mount) lenses are 'shorter' than Canon (EF lenses), so you can add an adapter add the right size and use the lens. Only issue is the aperture - with modern Nikon glass it's closed by default, and most adapters (at least the ones for £5) won't allow your Canon body to adjust the Nikon aperture. So, unless you've got a full manual lens, you need a Nikon body to adjust the aperture, take the lens off with the aperture open and attach it to the adapter on the Canon body.
(at least I believe that's how it works. I've only ever used all manual glass)
On the other hand, old Canon FD lenses are 'longer' than EF lenses, so adding an adapter of any length can't make them usable on modern cameras - and the same for Canon EF lenses on Nikon bodies.
PS: $7 at amazon.com: http://www.amazon.co.uk/Fotodiox-Mount-Adapter-Camera-Digital/dp/B001G4QXLE
I agree 100%. If you wanted to add a second boom mic (one on camera and one off) I like the Audio-Technica AT875R. The Rode for off camera and the AT for on camera (it's under 7 inches).
I use this with BMPCC. Its inexpensive leaving you money for accessories.
Its not huge and its built to interchange anything from the rails, shoulder pad, and even add a weight, Follow Focus, and Matte Box.
To each his own but it works for me! Hope i helped.
Fotodiox is the go-to adapter brand. I have both the expensive and the cheap adapters and honestly couldn't tell you the difference. They both work exactly the same!
here are some examples,
Basically you use one of the adapters to make certain type of lens fit on to your camera. Micro 4/3rds is unique in that you can adapt more lenses to it that most other sensors because of the field of view.
http://www.four-thirds.org/en/microft/accessories.html
http://www.amazon.com/RAINBOWIMAGING-Adapter-Olympus-Panasonic-USD27-99/dp/B003150B6O
http://www.adorama.com/searchsite/default.aspx?searchinfo=micro+four+thirds+adapter
Would getting a Nikon lens/adapter be a good idea as apposed to settling for a wider focus? This is what I'm looking at:
Lens
Adapter
I'm a fan of Directing Actors by Judith Weston. Highly recommended.
You need a Nikon F to EOS adapter, like this:
http://www.amazon.com/Fotodiox-07LAnkeos-Mount-Adapter-Camera/dp/B001G4QXLE/ref=sr_1_1?ie=UTF8&amp;qid=1370203196&amp;sr=8-1&amp;keywords=nikon+to+canon+adapter
As far as I know Nikon has not changed their mount in decades, so any AI or AIS lens should work fine (albeit fully manual) on Canon.
Have you looked into the "Spider Steady" DSLR rig?
I just got mine and it's been good to me so far.
Camera: canon t6 refurbished $350
audio: rode ntg2, an xlr cable, cheap boom pole
You can get the mic used for about $200, spend another $200 for a tascam dr-60
A 5 in 1 reflector kit from neewer for another $20
A few clamp lights and 3200/5600k bulbs
An okay tripod for now
And a cheap shoulder rig
That all should come out to around $1000 and should definitely be enough to get you started. Some of the stuff is a bit cheaper and you’ll need to replace as you move on and understand your needs better but there’s not much quality equipment to be bought if you need a whole package for around $1000
No books on sounds. I'd recommend most people in filmmaking read this book so you have a basic understanding of sound and what it takes to be able to get good sound:
The Location Sound Bible: How to Record Professional Dialog for Film and TV
I would say mastershots
https://www.amazon.com/Master-Shots-Vol-2nd-Techniques/dp/1615930876
Walter Murch's In a Blink of an Eye
It isn't so much a direct composition study but I certainly learned to think about shooting for a whole piece rather than just shot by shot.
https://www.amazon.com/Blink-Eye-Perspective-Film-Editing/dp/1879505622
I found this book very helpful:
https://www.amazon.com/Directing-Techniques-Aesthetics-Michael-Rabiger/dp/0240818458/
I'm deciding on a mic primarily for "corporate videos" (interviews with doctors) and potentially podcasts. I've narrowed it to the below and was wondering if fellow redditors had any input? I am leaning towards the PowerDeWise simply because of costs though I like that the shotgun mics would not be visible.
PowerDeWise
Rode SmartLav+
Rode VMGO
Rode VideoMic Me
I also have a 650D and was looking around for a shoulder rig, possibly a matte box in the future.
Either way i found this video:
http://www.youtube.com/watch?v=KwMFcWcHjOk
Here is link for US:
http://www.amazon.com/gp/product/B005NJCF7E/ref=as_li_ss_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B005NJCF7E&amp;linkCode=as2&amp;tag=tomant-20
Here is link for UK & rest:
http://www.amazon.co.uk/gp/product/B00CLXY3XO/ref=oh_details_o00_s00_i00?ie=UTF8&amp;psc=1
It looks good, highly customisable and cheap.
This is the rig that I like to use personally
http://smile.amazon.com/dp/B005UF3G2Y
combine that with this
http://smile.amazon.com/dp/B0036NMQ7S
and your hands are free to adjust focus, settings, etc. while you shoot.
g7, because:
i would highly suggest against using the onboard mic for any sort of interview. grab yourself one of these on the cheap and use your iphone as the recorder
https://www.amazon.com/Rode-smartLav-Lavalier-Microphone-Smartphones/dp/B00EO4A7L0
I love this book. Link for the lazy:
http://www.amazon.com/On-Directing-Film-David-Mamet/dp/0140127224/ref=sr_1_1?ie=UTF8&amp;qid=1406345072&amp;sr=8-1&amp;keywords=on+directing+film
https://www.amazon.com/dp/1615930876/ref=cm_sw_r_cp_awdb_t1_d1-DCbW3H2D90
There’s some interesting info in this book.
You don't say what you want to do, so I'll assume you want to write/direct. Read Film Directing Shot by Shot. Either rent, borrow or buy a cheap camera and try out examples from the book.
Read Save the Cat! Write scripts in your spare time. Read them out loud with friends to get an idea of pacing, structure, and believability (would someone actually say that?).
I hesitate to add too much to your reading list as it really is more of a "doing" than a "reading" hobby. It's great to try to figure out FCP, but if you've never played with it it could get overwhelming fast. You can learn the basics with iMovie - again, pacing, editing for the cut, fluidity, etc.
Otherwise check out Craigslist and volunteer on any small film shoots, no matter how shitty. You'll learn a lot about what NOT to do. Invaluable! Good luck!
The best way to learn is to shadow someone on set, but of that's not possible, take a look at The Location Sound Bible
something like this?
http://www.amazon.com/Fotodiox-Mount-Adapter-Camera-Digital/dp/B001G4QXLE
This sounds like a broken down summary of the first few chapters of "Directing Actors" by Judith Weston.
Good book BTW: http://smile.amazon.com/gp/product/0941188248/ref=oh_aui_detailpage_o05_s00?ie=UTF8&amp;psc=1
I would start by buying a cheap 50mm prime lens. They run for under $100, and I'm sure you could pick one up for less on ebay. http://www.amazon.com/Canon-50mm-Standard-AutoFocus-Lens/dp/B00005K47X
Depending on how many pieces of equipment you can get, I advise grabbing this. For $100 it's a solid (and cheap) recorder. Now depending on setting and what you want the actors to do, your audio person could be placed right off screen either under the actors to catch dialouge. Eventually we used the tascam in conjuction with other equipment, boom poles, etc. thus increasing our distance from actors and not having to be so much in their face. Just remember to sync up while on set of course as this is crucial for editing.
My top choice, always: "On Directing Film" by David Mamet
http://www.amazon.com/On-Directing-Film-David-Mamet/dp/0140127224/ref=sr_1_4?ie=UTF8&amp;qid=1345657124&amp;sr=8-4&amp;keywords=david+mamet
Amazon too:
http://www.amazon.com/gp/product/B00CWLSHUK/ref=as_li_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B00CWLSHUK&amp;linkCode=as2&amp;tag=dlevi-20
I think they just put out a canon one this week. http://www.bhphotovideo.com/c/product/1064603-REG/metabones_mb_spef_bmpcc_bm1_canon_ef_to_bmpcc.html
I have a canon stills camera so I am thinking it may be easier to go with the canon speed booster. Does anyone think the fotodiox adapter for nikon lenses would be a problem stacked on the speedbooster?
These are the adapters I am talking about http://www.amazon.com/Fotodiox-Mount-Adapter-Camera-Digital/dp/B001G4QXLE/ref=sr_1_1?ie=UTF8&amp;qid=1406294139&amp;sr=8-1&amp;keywords=fotodiox+adapter+nikon
I'm gonna go against what most will tell you on this sub, and will say only buy 2 more lens.
this one and this one.
The main things you should focus on is story telling through the camera. Not trying to fix your camera work with more lenses which seems to be the trend in this sub.
Lighting, sound, script and acting are far more vital. you can have the most expensive state of the art camera and lenses and your work will look like shit with out proper lighting.
As for your sound issue we need to know what kind of mic.
There are two books that most colorists will tell you to read first:
http://www.amazon.com/Color-Correction-Handbook-Professional-Techniques/dp/0321713117
http://www.amazon.com/The-Technique-Digital-Color-Correction/dp/024081715X/ref=pd_sim_14_2?ie=UTF8&amp;dpID=512wwrdbKXL&amp;dpSrc=sims&amp;preST=_AC_UL160_SR131%2C160_&amp;refRID=0ZSA0GM1EBXWY6WJ7NHF
http://www.amazon.co.uk/Canon-EF-50mm-1-4-Lens/dp/B00009XVCZ
Is this ok for 50mm?
My recommendation: a multi-way light reflector
generally around $15, yet so freaking practical
As per here
you should :
> Pull the trigger pin on the adapter towards the body of the camera and turn the lens counter clock-wise while you are facing the front of the camera.
This is almost exactly the same to my gear, except I use this sound recorder, and I have 4 32gb cards. They last about the same length as a full battery. Speaking of, get a spare battery.
I use this and love it: http://www.amazon.com/dp/B005NJCF7E/ref=wl_it_dp_o_pd_nS_ttl?_encoding=UTF8&amp;colid=3A6649UGCQB04&amp;coliid=ICUY20UHEN2J4
Are you talking about this?
http://www.amazon.com/gp/product/B00CRY250U/ref=as_li_ss_tl?ie=UTF8&amp;camp=1789&amp;creative=390957&amp;creativeASIN=B00CRY250U&amp;linkCode=as2&amp;tag=phloatingman-20
Also, I mix the ambient noise from boom with sound from lava mic in the software right?
Huh, and it's up to $695 at Amazon: http://www.amazon.com/Blackmagic-Pocket-Cinema-Camera-Thirds/dp/B00CWLSHUK/ref=sr_1_1?ie=UTF8&amp;qid=1407329259&amp;sr=8-1&amp;keywords=blackmagic+pocket+camera
Weird. The sale was supposed to go until the end of August. Wonder why the prices are all different now?
Rode SmartLav+
You can get a black magic pocket cam for under 1K now. http://www.amazon.com/Blackmagic-Pocket-Cinema-Camera-Thirds/dp/B00CWLSHUK/ref=sr_1_1?ie=UTF8&amp;qid=1416287427&amp;sr=8-1&amp;keywords=black+magic+camera
http://www.amazon.com/Fotasy-AMEF-Thirds-System-Adapter/dp/B003150B6O/ref=sr_1_1?ie=UTF8&amp;qid=1415129152&amp;sr=8-1&amp;keywords=m43+to+canon+adapter
Would that one do the trick?
There's no Canon 50mm f/1.5, there are only f/1.8, f/1.4, and f/1.2.
Just found this on Amazon;
https://www.amazon.com/Directing-Techniques-Aesthetics-Michael-Rabiger/dp/0240818458/ref=sr_1_1?ie=UTF8&amp;qid=1465635123&amp;sr=8-1&amp;keywords=movie+directing
Haven't read it but has good reviews.
This isn't the whole of it but the big thing with Directing is you need to know everything. With a scene you need to know every little detail about how it is getting filmed. You also need to know what you want from that scene and stick with it. Have exactly what you want shot and how planned before you walk in the door. The last thing I would say is if something goes wrong or gets screwed up then it is on the Director to get it fixed as fast as possible so be quick on your feet and resourceful and know how to handle problems fast without alot of debate. Hope this helps:) And just to clarify this is just my opinion other directors work differently.
Everyone is going to have their own favourites, but I found these helped me a lot with understanding shot dynamics, use of lighting & colour, and use of negative space which setting up a scene.
Heavy handed writing/script re-writing
https://www.amazon.ca/Your-Screenplay-Sucks-Ways-Great/dp/1932907459/ref=sr_1_1?ie=UTF8&qid=1550249661&sr=8-1&keywords=your+screenplay+sucks
Coffee Break - Taking an idea and developing it
https://www.amazon.ca/Coffee-Break-Screenwriter-Writing-Minutes/dp/1615932429/ref=sr_1_3?ie=UTF8&qid=1550250497&sr=8-3&keywords=coffee+break
&#x200B;
Same author as Coffee Break - Explaining Screen/Script Writing Rules + How to Break/Maneuver through them
https://www.amazon.ca/Coffee-Break-Screenwriter-Breaks-Rules/dp/1615932828/ref=pd_bxgy_img_2/145-0041365-5668007?_encoding=UTF8&pd_rd_i=1615932828&pd_rd_r=4e0b95bd-3144-11e9-9e0c-9751a1337b94&pd_rd_w=W1ULF&pd_rd_wg=Tlx63&pf_rd_p=163ac593-0f51-4882-9080-de6873217880&pf_rd_r=0NAKF4E94N1Z2JPD08KM&psc=1&refRID=0NAKF4E94N1Z2JPD08KM
&#x200B;
Use of Perspective & Camera moves with negative space/lighting through visual storytelling (it has many illustrations and examples )
https://www.amazon.ca/Framed-Perspective-Vol-Technical-Storytelling/dp/1624650309/ref=sr_1_2?s=books&ie=UTF8&qid=1550250880&sr=1-2&keywords=perspective
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For Cinematography and blocking a scene ( Five C's I would second, another Redditor listed link below)
https://www.amazon.ca/Master-Shots-Vol-2nd-Techniques/dp/1615930876/ref=pd_sim_14_1/145-0041365-5668007?_encoding=UTF8&pd_rd_i=1615930876&pd_rd_r=4e2a9d2b-3149-11e9-98e2-37d5230d235d&pd_rd_w=4OHbQ&pd_rd_wg=evCOq&pf_rd_p=29a85b27-a36a-4f8d-94ca-61aa962c5f39&pf_rd_r=88P1HWPW9D86QFXB8F81&psc=1&refRID=88P1HWPW9D86QFXB8F81
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There are 3 versions of the book above, I would get the revised version of the first, as the next two are more of the same with basically just shot variance ( can get them down the road if you like the first one)
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As a side note, down the road as well, the interview of Hitchcock/Truffaut is a staple to many. Also, I am not sure where you are located, but finding out if directors or filmmakers are doing talks (usually are first come first serve for tickets or lightly costed 10-25$ range) as those can be extremely insightful.
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