Ben Prater

Get a Canon t2i/t3i/t4i/60d ($400) and get a 50mm f1.8 ($100) for it. Then buy a cheap monopod ($40). Get the Rode lav for iPhone ($60).   Boom. Rockin' doc filmmaking kit for $600. 

  Question: what does your audio pipeline look like behind the microphone? What are you recording with? Are you upgrading that, too? 

If I had to rank my rigging kit based on the frequency of use, here 'tis: 1* monopod with feet 2* shoulder rig 3* tripod with good head 4* slider 5* stedicam My experience is that I take stuff with me that is light and compact. My *1 goes with me everywhere. It only takes a few seconds to unpack and setup and I can be shooting video immediately. My *2 compact shoulder rig is always with me too. Between the two items and my camera/sound bag, I can be shooting documentary-type stuff on a moment's notice. Show me a wedding, and I'll be zipping around with a rig on my shoulder or I'll be using my monopod with feet to grab more static shots. If you don't have a shoulder rig, consider getting one. Early on, I bought the $50 shoulder rig from Amazon and have been very pleased with it. Super compact, so you can fold it up and take it everywhere. With a slider, consider the Edelkrone compact slider. Lots of motion in a compact unit. For Steadicam, I'd consider waiting for the era of cheap, compact Movi-like stedicam rigs to enter the market. Everyone is building one now and they take a fraction of the experience to operate. (If you love Steadicam, make sure you check out 'supertramp' on YouTube. He rocks the HD2000.)

Hi Josh, for a long time -- I shot with the same t2i/50mm combo like you!     Do you have room in your budget for something like the Tamron 24-70? It's about $1,300 at Amazon and is similar to the Canon variation, including image stabilization. The Sigma is a little wider -- but if you are hunting for the cinematic, you'll probably find it more at long end of the Tamron. (With the T3i crop, you are getting close to 100mm, which is -- yay!) In fact, a Tokina 11-16 would be a great investment when you definitely want a wide lens.    BTW, f/2.8 is plenty fast for most for most of the work you'll need to do. As you go wider, you normally lose some sharpness and it's more challenging to nail focus. For many cameras now, you can crank the gain to overcome light issues.

  This is a filmmaking forum. Many cameras like the 60D do both stills and photography. We are primarily interested in how well a camera system works for shooting video. Stills are fairly irreverent around here.   Here's the bottom-line if you want to get into video production and are choosing a camera system: the investment comes after the camera body purchase. If you go with 60d/70d, you are going to begin investing in Canon glass. If you go with GH3 or BMPCC (pocket camera), you are going to start buying mFT glass. If you go with Nikon, etc...   With the advance in tech, we are all tossing our camera bodies every 18 months to buy the new latest-and-greatest. However, our lens set becomes our old friends for years to come.    If you want to get started in video production, you can't go wrong buying a used t2i/t3i/t4i/60d/7d -- and throwing a 50mm f1.8 on the front and going nuts. I shot money-making jobs with this combo for more than a year when I started.   If you want to buy new -- you have a handful of good options, but for the dedicated filmmaker -- you want the GH3 or the BMPCC. Why? Beyond the stellar image quality for the price -- they are the only bodies in the price range to include a headphone jack.   If you want a new camera today, get the GH3 -- without question.

The Tricaster 455 doesn't have HDMI input, it's primarily a production-grade SDI input switcher. The C300 outputs to SDI. The C100 does not. (So you'd need some kind of hardware conversion.) If you are doing field work, you can't beat the C100's form factor. It's a gift to documentary filmmakers.    The BMCC is a tool for filmmakers, not streaming -- it flourishes in a typical production workflow, especially in color grading, which you can't really do when you stream. I won't suggest using it in this context.    Based on your requirements, you should go with a C300 + C100 pairing for about $22k. The C300 will be dedicated for studio-work. And the C100 for B-cam in the studio as well as being used in the field for documentary-style shooting.    You should consider sitting down with an experienced video production company to discuss this purchase. There are a bunch of additional questions you'll need to answer -- lens choices, rigging choices, lighting choices -- and how everything can fit together in a package that allows you to really showcase your non-profit. An expert can help you see the details that may frustrate you later on.

I'm not surprised that Brawley prefers the 13-stops the BMCC offers. Especially if the BMPC isn't even quite hitting 12-stops right now.   I never understood why people were pre-ordering the BMPC before they saw footage. Especially with new sensor tech like the global shutter.    At the end of the day, cinematographers want gorgeous images. BMCC provides in spades. BMCC is being used in professional productions as a B-cam to Alexa. If you need global shutter because you love to whip pan, the BMPC might be a good choice.    Andrew -- thanks for the update post on Blackmagic. You might toss in the new PDF manual from Blackmagic. On a disappointing day, it was fun to read a little bit more about the camera systems.

  Huge miss that Blackmagic didn't get a BMCC MFT into your hands before now. I was especially interested in what you had to say specifically about that model.     Thanks for hanging on to the Pocket version. Many of us will be interested to see what you ultimately think of it. It looks to be the ultimate low profile documentary camera, although the footage I've seen isn't as impressive as its big brother.

  Is it the form factor that makes you pick up the Canon over the BMCC? Stuff like having to convert RAW to ProRes/DNG isn't a dampener with the 5D?

https://vimeo.com/67562461  

Go with the GH3. The quality is comparable to the 5d Mark 3. You get 60i so you can overcrank in post, so you can do beautiful slo-mo.   You get a headphone jack that you can use with your attached shotguns, which is great. (The Mark 2 doesn't have one, the Mark 3 does.) No need to have external sound recording.   Invest in stabilized zoom lenses and a fast prime for when you are having trouble with light. The rest of your gear choices look great!

If you are on a budget -- wait for the Blackmagic Pocket Cinema Camera in a couple months. It'll be $1000 -- and will have comparable footage to the hacked 5D3, including RAW.

You don't need a fast prime, unless it's for cinematic creativity or because you have limited lighting. Your Tokina/Canon 70-200 combo will work nicely.   You'll have nice wide shots with the Tokina (especially on the crop sensor 7d) and lovely tight shots with the Canon with some bokeh. The Canon is a little slow, so make sure to bring some auxiliary lighting. 

If you are getting started in production video, you can't beat the GH3. In the price difference between the GH3 and 5D, you can get a couple great lenses. Unless you need what the 5D does best -- full-frame or awesome low-light performance, it just isn't the best option anymore for  a camera system.   Remember, the more crisp and clear the image (GH3), the more options you'll have in post to push it toward something cinematic. The GH2 probably beats the GH3/5D out of the box for purely cinematic image. Check out 2012 Zacuto's Shootout -- the GH2 was a clear favorite.   If you want the best cinematic image currently coming out of a camera in this range -- the BMCC is the clear winner. When the Pocket variation comes out, it'll be the winner in terms of low-cost/high-performance image quality. With 10-bit performance and RAW when you need it, Blackmagic blows the doors off any other camera systems under $5k.

Here's a cheap rig that is compact and inexpensive. It doesn't include rails like a typical rig, but I find that it does the job and for $50, you can toss it if you don't like it. (Make sure you add counterweighting to it, like you would with any good rig.)   http://goo.gl/oF1mK   Also, take a good monopod with you, too. I like to switch between rigs and monopods, depending on how quickly the action is moving.   Also, if you are doing documentary-style shooting (on a boat), you almost always want a zoom lens that has some kind of stabilization. Zoom for composition options on the run. And stabilization, because you'll need it, especially when you are zoomed-in.   Only get a prime if the shallow depth of field is the aesthetic you want. You'll be getting plenty of natural light, so it doesn't have to be the fastest lens. The Tamron 24-70 VC sounds like it might be a good fit for you. And the Tokina 11-16 mm, if you need wide.

Consider that if you want to get into doing video, you need more than just a good camera system. You'll need rigging, lights, ND filters, etc. You also need to consider the lenses that go with the system you choose, such as M4/3 versus EF.   If you can swing the GH3, go for it. The 1080p60 is going to give you some fun, sexy slo-mo that no other camera in its price range can give you. Also, don't minimize how useful a swivel screen is when you want to get a slo-mo of a grasshopper on your front lawn and you don't want grass stains from sliding around on the grass. (Also, it has a headset jack -- this can be huge for minimizing the amount of kit you have to drag around.)   Other gear you should consider if you want to toy with video: get a variable ND filter, otherwise it sucks to shoot outside. Get a shoulder rig or decent tripod/head. (I recommend a rig for beginner's -- it forces them to learn framing/composition, Amazon has a great $50 one.) If you don't have a fast lens, get at least one.    If you are absolutely new and want to invest money in stuff that isn't going to be deprecated by next year, focus on some decent kit/gear. Go with a cheap Canon Rebel body like the T2i/3i/4i, get a 50mm/f1.8 lens, variable ND filter -- then find a couple decent LED lights, some stands -- maybe a small audio kit (Zoom/Tascam plus shotgun mic) -- and then a good tripod/handheld rig. 

Not entirely clear what your point is.   The BMCC needs to be rigged -- that's pretty much what everyone is saying these days. It has a strange form factor. Is having an internal battery a pro or a con? I guess it depends on your shoot. If you need to stuff a camera in the trunk to shoot a kidnapping scene for feature film, you can un-rig a BMCC and toss it in. Much harder with Alexa and friends.   "Quad HD" -- I've never heard anyone call it that. Cool!

Yay! I've been pretty excited to read your review of the GH3 Andrew! A couple additional things worth highlighting: 1. I'm surprised that it didn't get more play in your article, but the GH3 does 60p overcrank at 1080p. I don't think any other camera in it's class comes close. Is there anything under $5k, except for the FS100 that can do full HD slow-mo? (Bonus: some folks are saying to shoot in 60p, so you can still hear the sound on slo-mo sequences until you go to post! Great idea!) 2. WiFi integration. Having the capability to use your phone or tablet as a portable monitor is awesome. You can walk around a set, getting composition/lighting setup -- without running back to the unit or to an external monitor. Wireless HD + decent external monitor can be pretty pricey still.

Here's the link to Dave's video and some add'l info: http://nofilmschool.com/2012/12/dave-dugdale-variable-nd-filter-shootout/   The nice thing about vari-ND or fader-ND is that you can set your camera with your camera's specific baseline settings (ISO 200, 1/60 shutter). Then you can select the aperature you wish (f1.8) AND THEN use the ND filter to actually finish setting the exposure for your image. It makes shooting outside fun -- you get lots of free light to work with!

  Go with the variable ND versus individual filters. Skip the matte box. Matte box isn't so much fun for run-n-gun. Check Dave Dugdale's site for a great vari-ND review video!

If he wants quality, he wants a DSLR. You can buy Canon T2i (maybe T3i) used for about $350, usually with the kit lens. If he can find a GH2, even better -- but T2i/T3i are both solid starting camera systems.

Ran into a video recently that said shooting 1080 60p was the way to go slow-mo on the GH3. It means that you can still watch the video and hear audio (which you can't normally do with overcranked footage) -- but also easily slow it down in post because the extra data is there. It's like shooting video RAW on cameras -- you decide on the ISO in post, not on set.

If you are doing primarily video, you'll want to look at the GH3.   Between the quality of the image, its overcrank (60p) and the headphone jack (you aren't forced to dual system sound) -- it makes a fantastic camera system for filmmaking. 

What recommendations do you guys have for budget Super 16 lenses for the new BM Pocket Cinema camera? I'd like to start doing some hunting on Ebay, but I really don't know what to look for! I'm a big fan of fast lenses for doc-style run-and-gun shooting and I also really like wide lenses for the great landscapes I have here in Phoenix!

  Interesting. So the fact that global shutter tends to lose a stop or more of light is because of the additional physical space taken up around each photosite for the global mechanism? Does anyone have any photos/instructional images/articles that can explain more about the compromises that global shutter requires? I'd like to learn more!