(Part 3) Top products from r/Filmmakers

Hey, I'll try and answer as best I can, but others may have better or more accurate descriptions than me.

1. Many people will argue about this one, and I don't think there is really a right and wrong answer. You can make a great looking movie on an Iphone if you know what you are doing.
   
   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.
   
   
2. This one is again up for debate. Here is what I think would be best. Get a camera first. Like many independent filmmakers, a DSLR might be the best option, I found a camera from Panasonic called the AG AF-100 that to me has been an amazing camera, and a few steps above the DSLR without costing that much more. But Canon and it's DSLR lineup is great! Grab a couple decent lenses with that too.
   
   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.

Hi /u/rbg003 - I started with a T2i and now own a BMPCC ([$993.93 brand new from BigValue via eBay] (http://rover.ebay.com/rover/1/711-53200-19255-0/1?icep_ff3=2&pub=5575034783&toolid=10001&campid=5337235943&customid=&icep_item=360972404907&ipn=psmain&icep_vectorid=229466&kwid=902099&mtid=824&kw=lg) [Referral Link]), in addition to several other large sensor, interchangeable lens video cameras - so I have experience with the camera you're coming from, the camera you're looking at and I also have a few ideas about other cameras you might want to consider.

I agree with the other folks you've heard from in this thread, the BMPCC is indeed more challenging to shoot with and edit than a DSLR - but there are also a lot of positives.

This camera has absolutely the best dynamic range below $1000 - and, straight out of the box, its footage holds up to grading a lot better than any other camera in this price class. This means results like this:

Music Video:

http://vimeo.com/88103618

Commercial:

http://vimeo.com/81148562

Narrative:

http://vimeo.com/89563847

Documentary:

http://vimeo.com/83284391

There are many more examples in the Pocket Cinema Camera group I moderate over on Vimeo: https://vimeo.com/groups/pocketcamera

This is a great camera. If you can deal with its challenges, it will produce amazing images for you.

That said, if you want something easier to use that will give you the best 8-bit images you can get in this price range, you may want to consider the [$998 (as of this post) Panasonic GH3] (http://www.amazon.com/gp/product/B009B0WREM/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B009B0WREM&linkCode=as2&tag=battleforthew-20) [Referral Link].

I own this camera as well - and it would be a significant upgrade over your T2i. It has a headphone jack, records at up to 1080/60p, records continously for hours, has a viewfinder that works while you're shooting video (instead of blanking out), it has an articulated LCD, fast and silent autofocus while you're shooting video, and high bitrate recording up to 72mbps.

Here is what the GH3 can do:

Music Video:

http://vimeo.com/53834993

Narrative:

http://vimeo.com/49420579

Documentary:

http://vimeo.com/66940018

There are many more examples on Andrew Reid's GH3 channel over on Vimeo: https://vimeo.com/groups/gh3

It's a pretty good still camera too:

https://www.flickr.com/groups/gh3/pool/

https://www.flickr.com/groups/2042242@N25/pool/

Here are the BMPCC and the GH3 side-by-side (flanked by the GH1 and GH2): https://lh6.googleusercontent.com/-gVr8wdjjVyU/UpnGGaj0IfI/AAAAAAAAIS0/dHBNsFcCxGs/w815-h543-no/S1030005.JPG

(for me, these cameras are a lot easier to handle with pistol grips).

In my view, the GH3 is the best still/video camera you can buy below $1500.

Hope this is helpful and good luck with your decision!

Bill

> 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]:

1. The [<$800 Blackmagic Pocket Cinema Camera] (http://www.amazon.com/gp/product/B00CWLSHUK/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00CWLSHUK&linkCode=as2&tag=battleforthew-20) and
   
   
2. The [similarly priced Panasonic GH3] (http://www.amazon.com/gp/product/B009B0WREM/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B009B0WREM&linkCode=as2&tag=battleforthew-20).
   
   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:

• How to Write a Movie in 21 Days
  
• Screenplay (Syd Field)
  
• Story (McKee)
  
• Writing for Emotional Impact
  
• Save the Cat (series)
  
• The Screenwriter’s Bible
  
• My Story Can Beat up Your Story
  
  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?
  
  

• You could try Zoetrope.com for free (swapped) peer feedback or pay a screenwriting consultant (like me, ScriptGal, or Screenplay Mechanic, or check Sites, Services, Software, & Supplies) or put your script on The Black List.
  
• Some screenwriting contests, like the Nicholl and Austin, also offer feedback – but you may have to wait quite a few months to get it.
  
• You could take a screenwriting class – in person or online – and get feedback from your teacher and classmates.
  
• You could form or join a screenwriting feedback co-up and swap notes with fellow writers.
  
  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

All of them, really. Absolutely no harm will come from reading all the books out there (for a while). At worst, you'll learn ways of doing things that DON'T work for you but it's still good knowledge to have.

After a while, eventually, you'll start noticing though that all the new books out are just copying and rephrasing the books that came before them. That's when it's time to stop.

Some of the popular ones are syd field's book, Robert McKee's book, Joseph Campbell's book (and imo a book called The Writer's Journey by Christopher something that analyzes Campbell's book and puts it into modern story telling terms). That'll get you started. I have varying opinions of each of those books and none of them should be adhered to by law, but they ALL contain concepts and theories that, as a professional writer, you'd do well to expose yourself to. If for no other reason than that you can be aware of the concepts when others talk about them.

Tangentially, Stephen king's On Writing and William Goldman's books are great reads but don't necessarily apply to the craft of screen writing directly. Also useful to read any interviews or collections of interviews with screen writers. You may also want to check out some podcasts, Jeff goldsmith's interviews with screen writers is great and I have no idea if it's still available or even what it's called but I used to listen to one titled something like Sam and Jim Go to Hollywood (I am positive I got those names wrong) about two guys who up and quit their careers as restaurant owners and moved to Hollywood to become writers and share what they've learned. Ted Rossio and Terry Elliot also run, or ran, a website with forums (which are eh) and and a collection of articles about screen writing which are fantastic.

This was all stuff I was into years ago, so I don't know how much of it is still relevant, because like I said when you get to a certain point you've kind of read everything out there and it all starts repeating itself, and you realize all that's left is to read screenplays and write a ton.

Good luck.

e: back on my computer, here are some links:

Syd Field's Sreenplay (he has several books out, that's the one you should start with as it lays the foundation for basic story structure of nearly all modern movies. IMO, it's also the best one out there because he never says these are rules in any way, he simply analyzed a bunch of movies and lays out his findings for you to do with as you wish)

Robert McKee's Story

Joseph Campbell's Hero with a Thousand Faces

and Christopher Vogler's The Writer's Journey

Stephen King's On Writing which describes his writing style and, while I don't prefer it, is a very interesting style similar to the Cohen Brothers

William Goldman's Adventures in the Screen Trade and Which Lie did I Tell? two accounts of William Goldman's experiences as one of the top writers in Hollywood, and dealing with the business. Writer of The Princess Bride, Butch Cassidy & The Sundance Kid, and many others. Dude's a legend.

Jeff Goldsmith's Q&A podcast he also did the same style podcast while working for a screenwriting magazine, though the name escapes me right now

Sam and Jim Go to Hollywood holy shit I got their names right I can't believe it. Seems to be dead for a few years but it looks like their podcasts are still up.

Wordplay, Ted & Terry's website read every single one of those articles

e: BONUS! Not that useful as an educational resource, but it's fun to read Ken Levine's blog, writer on MASH and Cheers Ken's blog (no, not the guy who made BioShock)

I used the EXACT same set up for a short film (camera and computer, ram, and ssd).

I'd get a boom pole or - even better - a tall mic stand with a telescoping arm (you'll need a mic to 1/4th inch converter), or both, a shotgun mic, an external recorder, and a lavaliere mic (or two).

If you use a mic stand you can avoid having a dedicated sound guy, you just have to be really careful where you place it and the mic. That or use a desktop tripod or laveliere for the sound.

The sound is key. I can't state this strongly enough. If your sound sucks, your film will too.

With the c100 always use the inbuilt mics for scratch sound and record using the external mic, then sync them in post.

I used the zoom h4 and I'd say get a recorder with better preamps (the zoom is a little noisy, but it's still pretty good).

I'd get an external usb 3.0 hard drive (not ssd) to archive footage, just because it's so much cheaper. I use a 4tb G-Drive and it works well with Macs (whatever you get, just make sure it's 7200rpm).

If you're making docs I'd go with Hitfilm (pro or express 2017) for editing. If you get express you'll need the extended formats pack ($10) for AVCHD from the c100. I'd also get the starter pack ($10), the colorist pack ($25), and the repair pack ($50).

The repair pack has a great denoiser (video, not sound).

On my 2012 Mac Hitfilm works very well with 1080p footage.

As for the external monitor - the screen on the c100 is good enough for video if you're doing a documentary, so I'd skip it and spend that money on the mic and the audio recorder (this also makes you MUCH more mobile).

Basically, that's all you need.

If you want to have options I'd say get a tripod dolly - something like this: https://www.amazon.com/Ravelli-ATD-Tripod-Camera-Lighting/dp/B000YB862E

I'd also get a smart phone tripod mount, something like this: https://www.amazon.com/RetiCAM-Smartphone-Tripod-Mount-Conversion/dp/B00P4VAHAI

Always remember you can record both video and audio on your smart phone if you're in a pinch or want a back up (so some extra SDXC cards are always needs, just get good ones).

And last but not least (and if you're buying a c100 you probably already know this), make sure you have a good ball head and a good pan and tilt head for your tripod.

Hope this helps.

p.s. https://www.youtube.com/watch?v=E61zIyOM6ls

As a Youtuber who's invested in the wrong gear before the right gear, here's a quality list that I've found works for my needs and will likely be great for you.


Camera

Panasonic GH4: This is a great camera that shoots 4K. If you are shoot in 4K, downscale to 1080p, you have the option to reframe and zoom into a closer shot without losing quality. It has a flip out screen so you can see yourself, focus peaking to show you on screen if you're in focus, and can record longer clips (in select modes) than the Canon T3i to make syncing easier. This camera is also great for when you want to deliver in 4K one day.
$1699


AC Power adapter: No worrying about batteries for the indoor shooting. $20


Lens

Panasonic 12-35mm: Versatile lens that gives you great range. $1000


14-42 kit lens: Cheaper alternative. $120


Audio

Zoom H4N: Great recorder for your mics. Monitor each mic's level independently. $250


Rode NTG-2: Shotgun mic. $270


Sennheiser Wireless Lav: Expensive, but great quality. $640


Audio Technica ATR-3350s: Cheap corded lavs with long wires. $30


You'll need one long XLR cable, a light stand to use for the boom, and some kind of shotgun mic shock mount. $60 for all.


Lighting

3-light softbox kit: Great kit, been using it for a year with no issues. I don't use the over head light, as I don't have the space. I can use the light stand to boom or for another light. $170


Neewer CN-160: Small LED light to help light certain situations or to use as a hair light. $30


Tripod

Manfrotto Tripod w/Fluid Head: Great set up, worth the investment, but there are cheaper alternatives. $350


Memory Card

64GB Sandisk Extreme Pro: Great card which will allow for smooth 4K recording. $100


____



If you have any questions about any of this gear, let me know and good luck with everything!

I suppose this depends on where you are located, but some of that you've got right and some of that is just bad or disinformation.

As the 1st AC you are the right hand man of the camera operator more-so than the DP (unless of course they're one in the same). As a first, your primary duty is the well-being of the camera itself. Making sure that lens changes happen in timely fashion, making sure everything with the camera is functioning properly, and then pulling focus.

As a 2nd, your job is to assist the 1st AC with his tasks to make sure they happen quickly and efficiently. You're responsible for keeping inventory of items used by the camera department, taking all the necessary camera notes/turning in daily camera reports, as well as slating, placing marks for actor's and making sure batteries are always on charge.

As an AC you should never be touching lights, that's an entirely different department. Occasionally you'll be in charge of holding the camera, but more often than not if there is a dedicated dolly grip, they'll be the one in charge of taking the camera in between takes to relieve the camera operator and free you up to complete your tasks.

If this is an avenue you plan to explore moving forward, I'd strongly urge you to pick up this book and keep up with Evan Luzi's blog The Black & Blue.

Best of luck!

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&camp=1789&creative=390957&creativeASIN=B009B0WREM&linkCode=as2&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&camp=1789&creative=390957&creativeASIN=B00CWLSHUK&linkCode=as2&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:

• shoot stills as well as video (GH3) or
  
  
• subject your footage to extensive grading in the editing suite (BMPCC).
  
  Hope this is helpful and best of the holidays!
  
  
  

If you want the best bang for your buck, I'd recommend the following

1. Camera:
   
   Canon T3i: Budget friendly camera. Has the same sensor as the T4i, T5i, and 60D at a lower price. Capable of HD video(1080p, 720p).
   
   
2. Lenses:
   
   Canon 50mm 1.8: 50mm lenses are known as the standard lens, because it's extremely versatile. That specific one is a pretty good lens if you're on a budget. It you're looking for something of better quality, go for the 50mm 1.4.
   
   Note: you can acquire other focal length lenses if you need them, rokinon makes great lenses that are in the $300 range that are all around amazing lenses compared to the lenses in the quadruple digits.
   
   
3. Lights:
   
   LED Panels: Two of these kits and you should be good to go. LED's are better, more portable, and easier to handle than traditional lighting kits.
   
   
4. Audio:
   
   If it's going to be one or two people, then I'd recommend lavalier mics. There are tons of them available. You can record directly with a computer, or you can buy an audio recorder(there are tons of those too) and have the mics hooked up to that.
   
   
5. Editing Software: Most people nowadays are using Adobe Premiere. You can get a Creative Cloud Premiere account for $20 a month.
   
   
6. Computer: If your boss wants a mac, go with either a iMac or a Macbook. Both should get the job done with the editing, although the iMac will have a bigger display which is more handy when editing.
   
   
7. Extras:
   
   Tripod: If you want something great and cheap, I'd recommend the Amazon Basics Video Tripod. There are tons of more professional and expensive tripods on the market if you want to go the more expensive route.
   
   
   Battery Grip for the T3i: There are tons of non-OEM grips on ebay for around $25-50. Being able to have two batteries in at once is handy.
   
   Extra Batteries for the T3i: It's always good to have extras since there's nothing more annoying than having to end a shoot because you're out of batteries. Non OEM ones can be found on ebay for cheap. I recently bought 3 for $15.
   
   Memory Cards: Having multiple cards is always nice, a couple 32GB or 64GB cards is always nice to have.
   
   External Hard Drive: Video takes up a lot of space, storing the video files on an External Hard Drive is a good idea so your computer doesn't get filled with nothing but video files.
   
   
   That's the basics, I hope I didn't overlook anything. If your boss wants the most expensive, then just look for the biggest step up of what i recommended, i.e. a 5D over the T3i, the more expensive canon lenses, name brand lights, audio gear and accessories.
   
   
   

Here are some resources that have helped me.

First Time Director

Story

How to Win Friends & Influence People

Dov Simens 2 Day Film School


Dov Simens might come off as a horrible/ tacky salesmen but his 2 day course you can get on DVD is great, he breaks the process down better than I've seen elsewhere. Some stuff may be dated but it could get you started.

Take this approach to study.

Find a Director who's work you love, watch everything you can find of theirs. Watch all the behind the scenes you can find, then start copying them until you have learnt the rules and are able to recreate something almost as they would. Then with that experience start trying new things.

Also Gnomon Workshop and Digital Tutors are very helpful for the post side of things.

I started with a similar cheap kit to this: http://www.amazon.com/Photography-Portrait-Continuous-LimoStudio-LMS103/dp/B005FHZ2SI?ie=UTF8&keywords=light%20kit&qid=1462400627&ref_=sr_1_3&sr=8-3

I still use it to this day from time to time although with softboxes. Anything from cowboystudio (or similar names that en with studio, limostudio, fancystudio) will do fine for starting. They are cheap made but I grew my kit from there. Changed the bulbs for more powerful ones. Put a 1 bulb to 4 bulb adapter. Bought a couple led panels, better stands etc.

Buy one or two 5 in 1 reflectors with c stands and clips.

If you want a better kit (your budget seems to allow it) I would get individual lights and build a kit. I'm a big fan of led. I always shoot raw so as long as my lights have the same color temps I'm usually fine.

Hope that helps.

• Canon T2i
  
• Rode mic
  
• 50mm lens
  
• Tripod
  
  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.

Actually managed to have a proper watch through and have some specific stuff to say:

1- It's a little surprising to me that this hasn't gotten any more screen time than you say, because mostly it's much better shot and acted and written than most shorts, so on a purely technical front it should be doing at least a little better.

2- The directing (and occasionally the editing) is very 'safe'- you usually stick to mids, you don't do anything particularly exciting with composition (using a few front-on frames, side-on two shots), and at a few points the cuts (6:41 has a pan of the stadium for a few seconds) just seem to add unneccessary content in. It's a bit of an insecure film, and that makes it feel sort of like children's TV- the story is told at a pace where the characters are behind the audience most of the time, and the lack of a shot of the dead kid makes it feel more like that as you're avoiding something nasty.

3- You're relying too much on your music, it really doesn't need so much. About 6 minutes of this is scored as far as I can tell- it's just dictating to the audience what they should feel, and it's a big turnoff to audiences (and therefore programmers).

Overall, it's a good story told well, with pretty strong technical features and nice child performances. But it's also deeply sentimental, a little overlong, very TV safe, and has no stand-out imagery or plot points in it. These things are the sort of considerations which festival programmers have which rarely ever occur to filmmakers. Don't take it as a reflection on your work (except for the specifics I pointed out)- take it as an invitation to understand more about how fests work and how you can get your film shown at them. I'd recommend How Not To Make A Short Film by Roberta Munroe- I'm not convinced she's the best filmmaker I ever read, but she programmed for Sundance for years, and her experience there is very interesting. With some of her advice in mind, my short A German Word (which is far worse in many respects than this film) played at Aesthetica and London Short Film Festival.

You already got a good answer, but I found the below helpful too: it came from "Writing Movies for Fun and Profit" (Lennon/Garant)...

> DIRECTED BY: The movie is “their vision.” They are in charge of EVERY creative decision on set. They are the captain of the ship. Even when the person who hired the DIRECTOR (the STUDIO) wants something done on set, they can’t just say, “I want Lindsay Lohan to bowl here.” The STUDIO has to tell the DIRECTOR to say, “I want Lindsay Lohan to bowl here.” Then the DIRECTOR makes Lindsay bowl, or they’re fired.
>
> PRODUCED BY: Usually the one who hired EVERYBODY. The star, the DIRECTOR, the writers. After shooting begins, they remain on set as creative consultant—a VOICE-IN-THE-MIX. However, they are the VOICE-IN-THE-MIX-WHO-MUST-BE-LISTENED-TO. They usually sit by the monitors, watching every take (either knitting or Googling showbiz gossip, depending on their age and sex). When they see something they want to change, they tell the director. The DIRECTOR has to either do it, talk them out of it, or quit.
>
> EXECUTIVE PRODUCERS: Tricky one to define. Technically, they are THE BOSS. The EP is usually the one who got the ball rolling on the project, conceiving it, finding the source material, hiring the DIRECTOR and/or star and even the other producers. Some EPs oversee every aspect of every single production. And there are EPs on the Night at the Museum movies we never even met. Never even met.
>
> CO-PRODUCER: Usually a line producer, in charge of the budget. Also the “bad cop” in charge of hiring and firing people. The co-producer usually has an actual OFFICE, in the production office in Hollywood or Burbank, while the producers are miles way, at their swanky offices in Beverly Hills, and the executive producer is in Cannes or Monte Carlo or jet-setting around with Al Gore. Sometimes the co-producer has done more actual WORK on a movie than all of the producers and executive producers combined.
>
> UNIT PRODUCTION MANAGER: Sort of a line producer, but their job is 100 percent to oversee the COSTS of a film: they look at the budgets, make sure every department is staying on budget, and walk around on the set looking tense and staring at their watch. They make sure everyone fills out their cost reports and that those cost reports are accurate and UNDER budget. The GOOD UPMs are real ball busters, and everyone hates them. Except the producer.
>

I want to start making beauty videos for youtube. My Q can be simplified into 2 parts. Whats the best budget zoom lens I can buy for my crop sensor canon t3i? Attached to my diva ring light or tripod, 4+ ft away (might be less, might be more, still figuring that out. Right now I have the 50mm lens. I want nice bokeh.

& What budget friendly wide lens can I buy for video intro/outro's? Again, for the t3i's crop sensor. My kit lens still makes the video too close in. I want a nice wide shot, just not unreasonably wide.

Moving on,

Other things I need to buy: - Long USB cable for use disk utility for focus OR - Remote to help me focus bc I don't have auto video focus - New lights - White balance card - New Battery - Larger SD Card

I have a lighting problem. Currently I have 2 shitty limo studio lights from amazon, seen here: https://www.amazon.com/Photography-Portrait-Umbrella-Continuous-LimoStudio/dp/B005FHZ2SI/ref=sr_1_1?ie=UTF8&qid=1518707625&sr=8-1&keywords=limo+studio

They're too hot, take up too much space bc of the umbrella's and barely light. Even with the 2 umbrella lights, and my diva right light, the colors in lighting are not true, and most of my lighting comes from the window in my room, which is in an inconvenient spot so I cant used it for video lighting, and what does show up on video is not helpful bc if the difference in lighting through out the day making the lighting not be smooth through out.

Any suggestions?

What my videos look like now: https://www.youtube.com/watch?v=TlbrPApdIyE

EDIT:
FORGOT TO MENTION, BUDGET IS $400, BUT ID LIKE TO KEEP IT AT $3OO FOR EVERYTHING. Thank you.

Hey man. I agree with you on the 'more meaningful way' bit. I definitely got heated. Might have something to do with sleep deprivation and the marathon of HIMYM I'm currently on.

Regardless, excuses aside. Sorry man, shouldn't have been that harsh.

I would LOVE to go into detail about every single one of your shots and what I would've done and what I thought needed work. But to be honest. It's all subjective. It's an art. You might like something that I hate.

THAT BEING SAID, there are some basics you should really avoid. And there are are things you need to learn in order to accurately pull that idea out of your head and successfully get it into film.

Instead of yelling at you. I'm gonna gather up some resources for you that I really hope you take the time to learn from.

Now, you asked to see some of my work. Linking you stuff would just throw away the point of the 'throwaway' account since my first comment was so god damn harsh and to the point. Now I stated that

"You wasted 2:45 seconds. A lot of short films can make a grown man weep in that time"

I would just like to show you an example of what 2:42 seconds can do.

Here's the list:

QUICK VIDEOZ UP IN DIS BITCH:

Hands on lecture about Cinematography


Get out of AUTO mode! Some quick tips on shooting with a DSLR. I assume you're using a DSLR because that's what I started with. Regardless of camera this is great advice to start with

Wise words from my man Kevin Smith on independent filmmaking

Intro lecture on pre-production, script writing, and filmmaking in general

More DSLR tips and tricks


READING MATERIALS YO, READ DIS SHIT:

http://www.amazon.ca/The-Filmmakers-Eye-Cinematic-Composition/dp/0240812174

http://www.amazon.ca/The-Filmmakers-Handbook-Comprehensive-Digital/dp/0452297281



Now I understand if you can't afford to buy the books. When I was in highschool I was lucky enough to be able to beg my friends to borrow their camcorders in order to film my shorts. It's how I got started.

That being said I don't want to break rule #2 of this subreddit that I fucking love.

THAT BEING SAID.

LET'S JUST SAY.... THAT A CERTAIN BEARDED PIRATE.... IS CHILLING AT A CERTAIN BAY... AND IF YOU JUST GO TO HIM AND SAY THE WORDS "The Filmmaker" I'M SURE HE COULD HOOK A BROTHA UP WITH SOME OF DEM KNOWLEDGE PAPERS YA DIG?


Anyways brother/sister. I'm sorry about being harsh on your film. I wish you the best of luck in the future. All the stuff I've thrown your way you don't have to go through it all in one sitting. Just delve into some of them on your freetime every now and then.

Peace bitch. (I mean bitch in the nicestest most Aaron Paul way possible)

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.

Definitely read "The 5 C's of Cinematography" before anything else. http://www.amazon.com/Five-Cs-Cinematography-Picture-Techniques/dp/187950541X/ref=sr_1_1?s=books&ie=UTF8&qid=1367884793&sr=1-1&keywords=5+c%27s+of+cinematography

I love "New Cinematographers" which has been a very inspiring book for me as it reminded me why I love working in the film industry at a time when I was contemplating quitting altogether. http://www.amazon.com/New-Cinematographers-Alex-Ballinger/dp/1856693341

The Eye is Quicker. http://www.amazon.com/Eye-Quicker-Editing-Making-Better/dp/0941188841/ref=sr_1_1?s=books&ie=UTF8&qid=1367884818&sr=1-1&keywords=the+eye+is+quicker

Motion Picture and Video Lighting. http://www.amazon.com/Motion-Picture-Video-Lighting-Blain/dp/0240807634/ref=sr_1_4?s=books&ie=UTF8&qid=1367884852&sr=1-4&keywords=grip+and+lighting

The Camera Assistant's Manual by David Elkins. http://www.amazon.com/Camera-Assistants-Manual-David-Elkins/dp/0240818687/ref=sr_1_1?s=books&ie=UTF8&qid=1367884939&sr=1-1&keywords=camera+assistant

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

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

Using a phone could work, but it will only take you so far depending on what kind of phone you have. So you have two choices: Use your phone, practice with it, use its strengths and weaknesses to your advantage, and master filming with it, or you could just save up to buy a Canon T2i. You can get one with an 18-55mm f/3.5-5.6 IS lens for under $300. For an aspiring filmmaker, learning to use a camera like that will further your learning experience much farther than using a phone will.

For the tripod, you could take the cheap route and get something like this.

Meaning is imbued into a shot (or any creative decision) by the filmmaker. Depending on the context, the intent, and the execution, a single creative choice (like a shot) could mean all sorts of different things.

In other words: you won't find a comprehensive guide with 1 to 1 definitions for every shot out there because meaning ebbs and flows. It's subjective, and interpretive. That's part of what makes filmmaking so awesome.

That said, a good place to start with shots is this book. It's basically Composition 101. It'll teach you the fundamentals about what shots are, how to recognize them, and generally what they're used for. But pay close attention to the title of the book...learning what the shots are and what they do is only the first step. Learning to break the rules in interesting ways, turning them inside out, flipping them on their head -- that's the mark of a great filmmaker.

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&qid=1419848204&sr=8-1&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.

Canon EOS Rebel T2i is the only camera that even approaches that range. And you'll still need lenses.
Or you do the more cost effective route, but a cheap handicam, and ignore the fact that it looks like shit. But you'll need some REALLY good story telling to make up for it.
Here are a couple handy-dandy links:

Canon Rebel T2i with one 4x zoom lens

A cheap samsung handicam

Best of luck whichever way you go.

Pro Tools 100%. Standard in any post studio. You can get a massive discount if you're a student, £200 in the UK instead of retail which is £699. studica.com sells it

Check out: Pro Tools is Awesome, a load of great tips working with dialogue in Pro Tools.

Books:

• Dialogue Editing for Motion Picture - Technical.
  
  
• The Sound Effects Bible: How To Create & Record Hollywood Style Sound Effects - Technical, good list of what to record for certain sound effects, also takes you through the basics of audio and recording.
  
  
• Practical Art of Motion Picture Sound - Overall view to the practical side of sound for film.
  
  
• Sound Design: The Expressive Power of Music, Voice and Sound in Cinema - Very interesting read, more orientated toward creative, business and your mindset.
  
  
• The Foley Grail: The Art of Performing Sound for Film, Animation and Games - How to perform Foley.
  
  Any questions you have id be happy to answer, I'm a location sound guy now but at one point I was going down the post audio career route(mixed a few shorts, web-series and a feature).

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:

Are you using a DSLR camera? If so, start of with something cheap like this. Start off with trying to get good audio of voices, and when you're comfortable with that, try and get good audio of things you are seeing (ex. if someone puts their glass on the table in your short film, go back and record the sound of the glass being put on the table and insert the audio to sync up with the video)

Thanks for the reply!

http://www.amazon.co.uk/Canon-EF-50-1-8-Lens/dp/B00005K47X/ref=sr_1_1?ie=UTF8&qid=1345492272&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?

If you are a newb and want something that sounds better than an on camera mic, i'd buy this and screw it into a monopod.

https://www.amazon.com/TAKSTAR-SGC-598-Interview-Microphone-Camcorder/dp/B00E58AA0I

I have a videomic too and they are pretty much on par but with a 1/10 of the cost.

Also, it's 3.5mm, so you won't need to get a field mixer.

When your movies get so good that you need better sound, then hire a sound guy or pay $500 for a nice mic.

My opinion.

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&qid=1426302153&sr=8-2&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!

I just bought this one and got it last night so I can't comment on use but it's heavy and the fluid seems pretty good for the price. $80 http://www.amazon.com/gp/aw/d/B00CEH7VG8/ref=mp_s_a_1_sc_1/187-1201190-3885332?qid=1413328448&sr=8-1-spell&pi=AC_SX110_SY165_QL70

No.

Get a $23 Takstar SGC-598 mic and strap it to the top of your camera. Is it perfect? No. But it records nicely and no one watching my film notices the difference.

Good luck.

i have one of these takstars. for what you're paying, it's a huge upgrade from an onboard mic. there's videos of people compairing it with the rode mics and it holds it own pretty well.

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:

• Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema
  
• The Sound Effects Bible: How to Create and Record Hollywood Style Sound Effects
  
• Location Sound Bible: How to Record Professional Dialogue for Film and TV
  
• Film Sound: Theory and Practice

I just finished reading this book: https://www.amazon.com/Writing-Movies-Fun-Profit-Billion/dp/1439186766

It might provide you with some helpful insight and it's very entertaining!

I recently read this and it was both helpful and encouraging, "How NOT to Make a Short Film: Secrets From a Sundance Programmer" http://www.amazon.ca/How-Not-Make-Short-Film/dp/1401309542

Edit: Added title in comment

https://www.amazon.ca/Screenplay-Foundations-Screenwriting-Syd-Field/dp/0385339038/ref=sr_1_2?ie=UTF8&qid=1474698495&sr=8-2&keywords=screenwriting

https://www.amazon.ca/Story-Structure-Substance-Principles-Screenwriting/dp/0060391685/ref=sr_1_1?ie=UTF8&qid=1474698472&sr=8-1&keywords=story

https://www.amazon.ca/Save-Cat-Last-Screenwriting-Youll/dp/1932907009/ref=sr_1_1?ie=UTF8&qid=1474698480&sr=8-1&keywords=save+the+cat

https://www.amazon.ca/Writing-Movies-Fun-Profit-Billion/dp/1439186766/ref=sr_1_1?ie=UTF8&qid=1474698488&sr=8-1&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.

Regarding the follow focus? It's solid. It came with this rig and, so far, I'm really happy with the overall quality.

Get a t2i with ML, 50mm 1.8 lens, zoom h1, or if your budget can afford it, zoom h4n. Check eBay for cheapest prices. That's everything you need and in your budget. Good luck.

for skateboarding videos, you may wish to go full manual focus since the subjects will be moving around a lot, with deep focus (stopped down aperture).
...
Mounting inexpensive wide-angle manual lenses from 20+ years ago using adapters (eg. Canon FD to 4/3rds adapter) and using those cheaper, older manual lenses (tons at used camera shops, ebay, keh.com) can allow you to build a lens kit cheap. A benefit of the 4/3rds format on the G7.

eg. https://www.amazon.com/Fotodiox-Adapter-Olympus-Panasonic-Cameras/dp/B003EAVUMK?ie=UTF8&*Version*=1&*entries*=0

eg https://www.keh.com/shop/canon-20mm-f-2-8-fd-mount-lens-72-canon-20mm-f-2-8-fd-mount-lens-72.html
20mm Canon FD manual lens $238
20mm Canon EF auto lens $539
...but this isn't the best example because the Lumix 20mm is only $269
http://shop.panasonic.com/cameras-and-camcorders/lumix-camera-lenses/H-H020A.html

But you get the idea.

...

Also, look at Olympus lenses in addition to Panasonic lenses in the 4/3rds format. Compatible, and often Olympus lenses are higher quality.

http://m43.co/best-micro-four-thirds-lenses-the-ultimate-guide/
http://www.cameralabs.com/lenses/lens_buyers_guide/Micro_Four_Thirds_lenses/Recommended_MFT_lenses.shtml
http://m43photo.blogspot.com/2011/09/lens-buyers-guide.html

...

and olympus has unique lens cap sized lenses.
http://admiringlight.com/blog/review-olympus-15mm-f8-body-cap-lens/2/
http://www.photographyblog.com/reviews/olympus_9mm_f_8_fisheye_body_cap_review/

The tripod seems to be this ravelli. That head is worth the price alone. I have this and love it. Very very smooth pan

I have The Ravelli AVTP tripod and dolly and love them.

http://www.amazon.com/Ravelli-AVTP-Professional-Camera-Tripod/dp/B00139W0XM/ref=pd_sim_p_7?ie=UTF8&refRID=1QMM3J3MXECJQNB2B8ZK

http://www.amazon.com/Ravelli-ATD-Professional-Tripod-Camera/dp/B000YB862E/ref=pd_cp_p_2

I would think you would have used something like this to go over composition:

https://www.amazon.com/Filmmakers-Eye-Learning-Cinematic-Composition/dp/0240812174/ref=sr_1_7?keywords=mercado&qid=1550772898&s=gateway&sr=8-7

it's a lot more comprehensive that Brown's section on this topic.

This is a great little book if you haven't read it already.

Someone recommended this and it comes with a nice head too: https://www.amazon.com/Ravelli-Professional-67-inch-Camera-Tripod/dp/B00139XOCI/ref=as_li_ss_tl?ie=UTF8&linkCode=ll1&tag=battleforthew-20&utm_source=share&utm_medium=ios_app
Thoughts?

The Panasonic GH2 (with hack) is amazing. Google the comparisons people have done against expensive cameras.

If you're interested, here's the parts. About $150 total.

Ravelli ATD Tripod Dolly

(3x) Glide Gear GW100 wheels

Shorter bolts to attach the new wheels to the dolly

FORMUFIT PVC couplings if needed

And some 1-1/4” PVC + elbows from hardware store. Not only is it very light, but I can quickly disassemble it, and make it a mile long if I wanted for about a dollar per foot with extra PVC & couplings.

I wanted to do a quick test in the garage, so here’s some half-assed footage of the result. It’s surprisingly smooth, even for closeups.

http://www.amazon.com/RainbowImaging-Camera-Adapter-Panasonic-Olympus/dp/B002U4RRTG
http://www.amazon.com/Fotodiox-Adapter-Olympus-Panasonic-Cameras/dp/B003EAVUMK

If they are canon FD lenses, either of these should adapt them to the pocket cam. I have the rainbowimaging one for my pocket cam and it works pretty well, you just have to get used to the weird locking mechanism that FD lenses use.

If you're into cinematography this is a great pack of information: http://www.ascmag.com/store/product.php?productid=16627&cat=0&page=1

Another book i found useful was 101 things i learned at film school: http://www.amazon.com/101-Things-Learned-Film-School/dp/0446550272

And this book taught me everything not to do, and even though after reading it i hate the author, its great learning: http://www.amazon.com/How-Not-Make-Short-Film/dp/1401309542

The Xsi/450D does not record video without 3rd party hacks. A much better idea is to go with a t2i ($520 used on Amazon with the 18-55mm kit lens). Also, the t2i has a microphone jack, where as the Xsi/450D does not.

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.

I'm a WGA screenwriter. Here is my advice:

Read this book immediately. It will tell you everything you need to know about the business of being a screenwriter.

It is amazingly accurate, and I wish it had existed when I was starting out. It would've saved me years of painful experience.

If something seems far-fetched, just remember what I told you: it's all true.

It costs more, but consider buying the AmazonBasics Video Tripod instead: http://www.amazon.com/AmazonBasics-67-Inch-Video-Camera-Tripod/dp/B00CEH7VG8/

It still isn't the best, but it's better than the one you linked.

NOT the shotgun, the CARDIOID microphone. The Audix ADX51 is a good one.

I don't see much need for a second Audix mic if you have the lavaliers for backup.

Here is a simple shock mount for the Audix mic. This one might not be rugged enough for a boom operator, but will be fine for what you're doing.

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

want to link me to a GH2? Im getting a whole bunch of different results.
http://www.amazon.com/Panasonic-DMC-GH2-Interchangeable-Free-Angle-Black/dp/B0043VE26U/ref=sr_1_1?s=electronics&ie=UTF8&qid=1382495505&sr=1-1&keywords=gh2

Isn't that much lower end?

http://www.amazon.com/Panasonic-DMC-GH4KBODY-16-05MP-Mirrorless-Cinematic/dp/B00I9GYG8O

This book: Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema is exactly what you would want then.

I recommend this book so much you'd think I wrote it.

If I can be honest, I have absolutely no idea how affiliate links work. Buy it wherever you want.

But if I remember correctly (need to reread this) they go into exhaustive detail on what it's actually like to be a screenwriter in Hollywood, about what to wear in pitches, hell, even where you'll park on studio lots.

This one is still required reading for film school students:
https://www.amazon.com/Story-Substance-Structure-Principles-Screenwriting/dp/0060391685/

What have your read about composition?

http://www.amazon.com/Shoot-Video-That-Doesnt-Suck/dp/0761163239/ref=sr_1_1

http://www.amazon.com/Filmmakers-Eye-Learning-Cinematic-Composition/dp/0240812174/ref=sr_1_1

What videos have you watched that talk about composition?

https://www.youtube.com/results?search_query=film+composition

the filmmakers eye
http://www.amazon.ca/The-Filmmakers-Eye-Cinematic-Composition/dp/0240812174

https://www.amazon.co.uk/Camera-Assistants-Manual-David-Elkins/dp/0240818687

So this one?

i got 2 sets of lights.

1. A 3 light ubrella kit This
   
   
2. A horse shoe light This

Are you talking about this?

http://www.amazon.com/gp/product/B00CRY250U/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00CRY250U&linkCode=as2&tag=phloatingman-20

Also, I mix the ambient noise from boom with sound from lava mic in the software right?

So heres a curve ball for you. Ive used a ton of mics in the past and have realized that most of them are expensive mainly because of the name. I recently purchased this Takstar mic and have been blown away with its performance. For example, here is a video i did only using this $25 mic. Mind you this audio isnt even edited. I had the AC running which is the constant white noise you hear. https://youtu.be/mea39_6Xidc?t=147

A shock mount with a shoe adapter like this should work. It's got a 5/8 thread for when you get a proper mic stand. You should really try to get something to get that microphone as close to your source as possible. I'd skip the DIY option and just get a proper one since boom poles are really cheap.

I picked this adapter up to use Canon FD lenses. Real solid and didn't cost much either. The only drawback using an adapter is that any controls from the lens such as autofocus can't be used. You actually have to setup the GH2 to have it shoot without a lens, because it won't register your Canon glass.

While that doesn't sound good, I've gotten incredible results using it. Never had a problem with this thing falling apart and using Canon glass makes my clients happy.

http://www.amazon.com/dp/B003EAVUMK?pf_rd_mnb=ATVPDKIKX0D34&pf_rd_stb=center-2&pf_rd_rat=0817NMRY4ZRQZM6P18TH&pf_rd_t3r=101&pf_rd_ptd=470938631&pf_rd_ied=507846&tag=buaazs-20&pf_rd_ptd=470938631&pf_rd_ied=507846

EDIT: Forgot to mention the hack. I've heard quite a few things about the hack too and was going to try it myself a few months ago for a short I was working on, but I was a bit intimidated by it and was worried about corrupting the firmware and making it unreliable. Probably just me being paranoid, but if you do decide to go for it, make sure you're using a trusted source and you know what you're doing when hacking it.

Here are some cameras i'm used or that i've worked with footage from that are in the "affordable" range I think. This is a decent cross-section I think of a lot of the DSLR and Camcorders out there.

It really depends on if you just want a really basic camcorder to just use as a learning platform (I would consider a used DVX or something if that's the case), or if it's something you want to try to use as a professional rig, and if so what do you want to do with it? Narrative work, documentaries, videography work?

Depending on what you're planning some cameras on this list will be good choices, some will be bad.

If you don't mind spending more, maybe think about the Panasonic AF100, or consider looking into the Black Magic: http://www.bhphotovideo.com/c/product/855879-REG/Blackmagic_Design_BMD_CINECAM26KEF_Cinema_Camera.html

Or maybe even a used Scarlet or something.

Sub-$1000 Range:

CANON:

T4i/650D, $600-800 depending on kit and reseller.


-Sample Videos:

https://vimeo.com/44077443

https://vimeo.com/44366121

https://vimeo.com/49516874


60D, $600-900


-Sample Videos:

https://vimeo.com/32416450

https://vimeo.com/38775602

https://vimeo.com/15181980

https://vimeo.com/37153340


Canon HF-G10 $900


-Sample Videos:

https://vimeo.com/22978435 - Various cameras are used in this one, but gives you a general idea to the quality of Canon Camcorders

https://vimeo.com/21301495

https://vimeo.com/6519838





NIKON:

Nikon D5200 $800


-Sample Videos:

https://vimeo.com/54991854

https://vimeo.com/60135187

https://vimeo.com/57861628

https://vimeo.com/59832019



D7000, $700-900


-Sample Videos:

https://vimeo.com/25585194

https://vimeo.com/15894774

https://vimeo.com/31984384

https://vimeo.com/17696909



PANASONIC:

Panasonic GH2, $565-950


-Sample Videos:

https://vimeo.com/28454865

https://vimeo.com/57878898

https://vimeo.com/22605282

https://www.youtube.com/watch?v=5U9KmAlrEXU - Trailer for a feature-length film shot with it.

https://vimeo.com/33047750



SONY:

Sony NEX6 $800-900


-Sample Videos:

https://vimeo.com/52942499

https://vimeo.com/55598921

https://vimeo.com/56972084



$1000-1800 Range:

CANON:

7D $900-1200


-Sample Videos:

https://vimeo.com/25968181

https://vimeo.com/16117083

https://vimeo.com/7764570

http://www.youtube.com/watch?v=PF_jWPJwKIE - Trailer for feature-length film shot with it.


5D MK.II, $1400-1800+


-Sample Videos:

https://vimeo.com/16339841

https://vimeo.com/33342571

https://vimeo.com/4704533

Some 5D/7D comparisons: https://vimeo.com/14832168



NIKON:

D7100


-Sample Videos:

https://vimeo.com/62624613

https://www.youtube.com/watch?v=EgVhkZdyP1c

https://www.youtube.com/watch?v=Nb1FbZcIfvw

https://www.youtube.com/watch?v=HR1oZsqhrX0


PANASONIC:

Panasonic GH3 $1200-1500


-Sample Videos:

https://vimeo.com/49420579

https://vimeo.com/49944730

https://vimeo.com/54266780

https://vimeo.com/58762647

https://www.youtube.com/watch?v=o3fhEazbFKI


SONY:

Sony NEX7 $1140


-Sample Videos:

https://vimeo.com/33599712

https://vimeo.com/36845339

https://vimeo.com/36117747

https://vimeo.com/35176255



$1900-2500 Range:

CANON:

XF100, $2500


-Sample Videos:

https://vimeo.com/16963810

https://vimeo.com/21187597

https://vimeo.com/27391327


5D MK.III $2500+


Sample Videos:

https://vimeo.com/56203946

https://vimeo.com/47767166

https://vimeo.com/41657820

https://vimeo.com/37838697



NIKON:
D600 $2000-2500


Sample Videos:

https://vimeo.com/58319404

https://vimeo.com/52952766

https://vimeo.com/49989606

https://vimeo.com/52634062


D800 $2500+


Sample Videos:

https://vimeo.com/36305675

https://vimeo.com/56135940

https://vimeo.com/38912704

https://vimeo.com/42065372



PANASONIC:
HMC-150, $2100-2500+


Sample Videos:

https://vimeo.com/9783117

https://www.youtube.com/watch?v=nIRUUnmnMFk

https://www.youtube.com/watch?v=WF29YfIKErc


AF100/105 $2500-3000


Sample Videos:

https://vimeo.com/16724324

https://vimeo.com/15765280

https://vimeo.com/16000333

https://vimeo.com/30063219


SONY:
VG20 $2200


Sample Videos:

https://vimeo.com/32747038

https://vimeo.com/31024014

https://vimeo.com/37048917



A99, $2500+


Sample Videos:

https://vimeo.com/52031763

https://vimeo.com/58012010

https://vimeo.com/50982162

There's no threaded insert? On Amazon it shows it with a 5/8" thread, which is standard for mic stands.

The boom pole has a 1/4-20 thread (which is not standard for booms, by the way,) so you'll need this adapter.

i'd split the difference and go with a Gh3. for an MFT mount first camera, i wouldn't worry about going crazy with lens quality. a kit lens will serve you fine for a while and when you upgrade your camera in the future, you may be going S35, APS-C or FullFrame, in which case your MFT glass wouldn't fit. i recommend grabbing the 14-140 kit lens, the 20mm pancake (roughly $400 each) then grab an e-image tripod

> Other cameras that have been recommended to me are the black magic cinema camera and the canon 7D

having owned the 7D, BMCC,and Gh4 i feel like I've trained my life to answer this! :)
the Gh4 is not great in low light by cinema standards, but its better than the BMCC or the 7D. the 7D and Gh3 are on par while the BMCC's low sensitivity and small sensor make it crap for low light.

with the GH3 and GH4 you get 1080/60p but the 7D is only 720/60p and the BMCC has no slomo.

the BMCC is a bitch of a camera ergonomically and it is a little finicky in its function.

the GH3/4 both have way more video minded features than the 7D (zebras, peaking, audio levels, histogram, etc.)

if you like the video that you get from a 7D, buy a t3i instead. it's the exact same sensor, but a cheaper body. then you could spend your money on EF mount glass which is more likely to stick with you when you upgrade (even if it's not canon brand)