So you have booked your first video gig and you have a small amount of startup capital to get some of the items you need. Below is equipment I consider essential gear to be prepared for a low budget, small crew, or one man band video shoot.
So you have booked your first video gig and you have a small amount of startup capital to get some of the items you need. Below is equipment I consider essential gear to be prepared for a low budget, small crew, or one man band video shoot.
Cameras
The number one question every beginner wants to know is “Which camera should I get?” This question is dependent upon loads of factors and can change every six months or so when newer cameras are released. The more important question is: “Should I buy?” If you are unsure of which camera would best suit your needs, it is definitely a great idea to rent a camera package.Adorama rents cameras as well as a plethora of other equipment in our NYC location and our excellent staff can help you with any questions. However, if you know exactly what you will be shooting and are looking for advice on cameras to consider, the below list should suit your needs. I have broken the camera section into Video Cameras and DSLR/Mirrorless as the two different types have pros and cons that you need to weigh for yourself.
Video Cameras
For the videographers who need to record events, performances, speeches or takes longer than 30 minutes, the clip limit imposed by manufacturers on DSLRs and mirrorless cameras is a huge turn off. I would suggest getting a proper video camera which will record as long as it has power and media. The other benefit is that you get more video specific features, ergonomics and better in camera audio recording, however the price reflects the versatility.
This new XDCAM from Sony is an amazing camera with a very wide dynamic range and 4K internal recording up to 60fps and HD recording up to 180fps while also being able to record10 bit 4:2:2 in HD. The small flange distance also allows for a wide array of lenses from many different manufacturers to work with the camera. The FS7 comes with an ND filter wheel, two XLR inputs and a very reasonable weight of4.4 lb / 2.0 kg. At a current price tag of $7,999 for body alone, this is a beast of a video camera and if you have the budget for it, should definitely be on your radar. Click here to buy now.
Canon EOS C100 Mark II Cinema Camcorder
The Mark II version of the Canon C100 is a great camera if you don’t need 4K and can live with the AVC codec. The images this video camera produces are outstanding. Canon listened to customers when designing this revision and while many may bemoan the lack of 4K and the codec, this camera is great for many different needs and at a much more reasonable price point than the $15,999 Canon C300 Mark II. If you find yourself with a high enough budget for the C300 Mk II definitely look into it as Canon has made many upgrades, including 4K recording, a better sensor, a newer codec, internal 4:4:4 RGB, 12 bit codec for some frame rates as well as other improvements, but for me the price is too steep. The C100 Mk II has 2 XLR inputs, internal ND filters, an EF mount, solid low light performance, and a very long lasting battery life. This is definitely a great bang for the buck video camera. Click here to buy now.
Mirrorless Cameras With Video Features
Mirrorless cameras and DSLRs are great in more controlled situations where you can get cinematic shots. However, these cameras have been designed primarily with photography in mind. If you are shooting video you should be using some additional form of support, be it a tripod or a cage to give you stable shots. These cameras are excellent for music videos, commercials, interviews, talking head videos, b-roll, and a variety of other shooting situations.
Sony a7RII Alpha DSLR Full Frame Mirrorless Digital Camera Body
In my opinion this is the current leader in the field. The Sony a7RII has a host of amazing features including internal 4K, 5 axis in body stabilization, quick autofocus, even with an adapter and certain lenses, excellent low light and S-Log2 which allows for greater latitude in your image.The a7RII also has 399 phase detection points that cover a large portion of the 42.4 MP, full-frame sensor. This is truly an amazing jump forward from Sony. While the Sony Alpha a7S Mirrorless Digital Camera edges out the a7RII in terms of low light performance and price at $2,498, this camera bests it in all other regards. If the Sony a7RII falls within your budget, give it serious consideration. If the Sony a7S is within your budget it is also an excellent choice. As the a7RII was just released in August this camera is currently on back order. If you want to get this camera though, I would purchase it as soon as possible as this camera is likely to be very popular for the foreseeable future. Click here to buy now.
Sony Alpha a7S Mirrorless Digital Camera
If the Sony a7RII doesn’t fall within your budget, the Sony a7S is also an excellent choice. The a7S also has a full frame sensor with even more exceptional low light performance which makes it an amazing tool for video production. It records up to 1080p, 60fps at 50mbps internally and can record S-Log2 which allows for quite a wide range of latitude. The camera can also send a 4K signal to an external recorder, though this is an expensive add on. Click here to buy now.
Panasonic Lumix DMC-GH4 Mirrorless Digital Camera
The Panasonic Lumix GH4 has incredibly sharp 4K internal video that looks phenomenal when shooting under bright lighting conditions. One note is if you plan on exporting 1080p footage it is better to record 4K and then scale it down in your editing program as the 4K scaled down is significantly sharper than recording 1080p internally. The codec can record up to 200mbps in 4K, which is an amazingly high bitrate for such a small camera. The GH4 also has focus peaking which is very helpful when getting precise focus. While the low light performance is less than spectacular and the Micro Four Thirds sensor size make shallower depth of field a bit harder, the MFT mount has many excellent small, light lenses. You can also get adapters which will open up a world of lenses from several manufacturers, just be aware that the crop factor is 2.3X which means full frame wider lenses become more standard and full frame telephoto lenses get a boost in reach. Another amazing feature is that the GH4, at least the US version, can record continuous video as long as your battery is charged and you have space on your card. The Panasonic GH4 is a bargain at the current $1,497.99 price and an extremely solid choice if you find yourself working mostly in brightly lit situations. Click here to buy now.
You may be asking yourself, wait, where are the DSLRs, and more specifically, where is the Canon 5D Mark III? I did not include this on the list as the video features and sharpness are not on par with the two cameras above. The Canon 5D Mk III is an amazing stills camera that I own and it has decent video features. However, as this discussion is about getting the best bang for the buck in terms of video I think the above cameras fit the bill much better. I am about to purchase the Sony a7RII in the very near future.
Lenses
There are many posts about which lenses are the best or which situation. However, as you will be faced with a ton of different lens options and the lens that is best for you will depend on which camera system you use and what you are trying to accomplish with your lenses, I will give more general lens purchasing info.
Camera lenses will easily see your camera body’s lifetime come and go. A fast, sharp lens will remain sharp and fast and work just as well on future bodies as they do on whichever camera you are shooting on currently. Investing in lenses is a wise choice as lenses hold their value much better than camera bodies.
The array of lens choices is dizzying. I will give you some general pointers to help guide you in your search. First, what will you primarily be shooting? If you are mostly shooting music venues where you need to film the stage from the back of the room you need either a telephoto prime or perhaps a zoom lens such as a 70-200mm. If you are purchasing a zoom lens look for a constant aperture lens which, while more expensive, will allow you to zoom in on your subject and not have to worry about changing exposure.
If you are shooting events, you should look for fast lenses. Weddings are often very challenging in terms of lighting. Churches, synagogues, reception halls and most event spaces are usually dimly lit to set the mood. Sorry to break it to you, but the event space’s lighting designer didn’t take your camera into account when he set the lighting. I would suggest getting a 24-70mm f2.8 or faster lens to start and you may want to look into getting a 70-200mm lens as well. While primes are sharper, lighter and generally less expensive, you will likely be trying to get shots in tight spaces and these zooms will help you cover a large range of shots. Zoom lenses are particularly useful when you have to move quickly and don’t have time to be changing lenses. They are also a lifesaver when you can’t get into a position to get the shot.
For corporate work where you can control the lighting, you might want to consider a combination of a portrait lens such as an 85mm and a wider 35mm lens to capture more of the scene. While there are many lenses for many different circumstances, these two lenses will cover you for many of them.
Tripods
The next most important piece of kit, and one that can last you a lifetime, is a tripod. Tripods are an essential tool for making your video look professional. When buying a tripod you need one that will carry the weight of your current camera setup, but you should also make sure that you consider future accessories and possibly heavier setups you may want to use. A solid tripod will last you a very long time and retain a good resale value.That being said, high end tripods are extremely expensive and I suggest you get a tripod that offers good value at a reasonable cost, one that will last you several years and which you will only upgrade from when you need the benefits that those extra thousands of dollars commands. I have chosen two tripods that offer great value and will also last you for years to come.
ThisManfrotto tripod and fluid head combinationmakes for a great tripod. This tripod and head will support up to 35lbs which is great for heavier video cameras and will future proof you should you upgrade your gear and add more weight in the form of accessories or a new camera. The price is also reasonable for what you get, though many may balk at the current $1,649 price tag. Click here to buy now.
This is a solid tripod and head combo to hold your DSLR or mirrorless camera with a few accessories. It supports up to 11lbs and the head has a long QR plate which makes balancing your camera or rig much easier. The fluid head utilizes a great drop in quick-release system, which makes loading a built up camera rig onto the head, pardon the pun, a snap. The current price is a much more budget friendly $679.88. Click here to buy now.
Audio
Unless you are recording video without sound, such as for a music video, capturing great audio should be of the utmost importance to you. If you are using a DSLR or mirrorless camera you can use the 3.5mm audio jack to attach a microphone that will be much better than your internally supplied microphone, however I suggest recording your audio separately using an external recorder. Doing so will allow you to use much better XLR microphones and lavaliers. While this may add a bit of extra work both on set and in post, it is 100% worth it. Have you ever watched a video with professional looking images, but less than stellar audio? It was a bad experience wasn’t it? People are much less forgiving of bad audio than a less than perfect image.
I suggest you get an audio engineer whenever possible. However, I know many of you will start out working with extremely limited budgets and won’t be able to afford to pay anyone else so I have made a very, very basic list of audio equipment for you to be able to get better audio than your camera can provide.
Tascam DR-40 4-Track Handheld Digital Audio Recorder
An external audio recorder will allow you to use higher quality microphones which you can attach to your camera’s hot shoe, a boom pole, stand or have your subject hand hold. You can also use wired or wireless lavaliers. I have used this external recorder for several years and the Tascam DR-40has served me very well. I use it as my primary audio recording device when I use my Canon 5D Mk III and as a backup when I am using a video camera with XLR inputs. This little device has saved my bacon on more than one occasion. At a wedding I plugged my DR-40 into the sound board and left it running the entire wedding. This was meant to be my backup. My intended primary audio was a wireless lavalier which was pinned to the best man to get his speech. Even though I let him know to avoid touching the mic, he felt compelled to punch his hand to his chest for emphasis. Luckily he was holding the DJ’s mic in his other hand. I was able to use the audio from the handheld mic recorded on the Tascam DR-40 and no one was the wiser. Click here to buy now.
Rode Microphones NTG-2 Dual Powered Lightweight Directional Condenser Shotgun Microphone
This shotgun mic offers a great bang for the buck with very good audio quality. At a current price of $269 this mic is a great value. There are definitely better microphones out there but the prices shoot up very quickly. This shotgun is great for isolating audio from your subject and rejecting much of the ambient noise in your location. When placing this mic on set make sure you get it as close as possible to your subject while making sure it is out of frame. In controlled environments and sometimes in event work depending on whether or not the subject will be moving around as well as the locations’ rules, I use this as my backup audio to ensure I have solid audio should my wired or wireless lavalier fail. Click here to buy now.
Audio-Technica AT899 Condenser Lavalier Microphone
When most people mention lavaliers they are talking about wireless lavaliers. While they do have their place, I now prefer to use a wired lavalier whenever possible. I had a job where there was a large amount of interference on my wireless lav and no matter what I did I couldn’t get rid of it. I changed frequencies, checked the squelch, did everything I could to quickly fix the situation. However at the end of the day I leaned heavily on my back up shotgun which was not ideal but definitely did the job. A wired lavalier will never have interference issues, it will have better, more consistent quality and it is a much cheaper option than a wireless lavalier. The one down side is that it is very limiting to your subject’s movements. A wired lavalier is great for interviews and in situations where you can run XLR from your camera to the subject. Click here to buy now.
Sennheiser EW 112-p G3 Camera Mount Wireless Microphone System
This is the wireless lavalier I use when it is impractical to use a wired lavalier. While there are definitely lower priced wireless lavalier systems, the Sennheiser G3’s are the starting point of what you should be considering when looking to purchase a system. This lavalier has served me very well and I have had only minor issues with the wireless signal, primarily interference from cell phones in the room. A note to the beginner, when placing a mic on your subject always make sure they turn their phone completely off. You may not be able to control a room full of people, but you certainly can do so with your main subject.
A lavalier is ideal for event work the subject may be moving or you may have to set the camera up at a significant distance from your subject. Many venues also do not want you to run XLR through their space for safety reasons and this is when a wireless lavalier will allow you to still get great sound from a reasonable distance. Click here to buy now.
Sony MDR-7506 Professional Folding Headphones
These are industry standard headphones. They isolate external noise very well and give you a very clean, unmodified sound from your audio device, be it your camera or external recorder. Many headphones pump the bass up for a more pleasing sound, these are reference headphones and give you a flatter sound that represents a truer sound. Click here to buy now.
Hosa Technology 30′ Pro Balanced 3-Pin XLR Female to 3-Pin XLR Male Audio Cable
Having a short length of XLR cable is a minimum requirement when you are a one man band. If you are doing event work there will be many circumstance where you will need to hook into a sound board or place a mic away from your camera or audio recorder. A good length of XLR will also help you bridge the gap between your camera and the subject. When possible, scout your shooting location in advance and know where you will be shooting from and where you will be placing your microphone or where the sound board will be. Click here to buy now.
Audio Adapters
In your audio kit you should have all manner of adapters so you can be flexible in connecting your equipment to whatever output you are receiving, be it a sound board or another source. Turnarounds, adapter that turns a female into a male or vice versa, can mean the difference between being able to get a signal or not. A few good adapters to have are XLR to ¼”, XLR to 3.5mm, XLR male and female turnarounds, and XLR to RCA. There are many more, but this is a good start.
Lighting
I will again advocate for using a specialist when possible, but if you feel you will need to be lighting a simple set-up or adding light to a location, a simple versatile kit like the one below can help you get a better image. I will again stress that you should use a DP or a Gaffer when you need to light a complicated setup. Lighting equipment can get expensive and a good DP or Gaffer will often come with a lighting package that will help you realize your vision. There are many different lights and light kits out there and every shooting situation is unique in its lighting needs. You will need a different lighting setup for a green screen shoot than for a two person interview. The below kits are Lowell kits I have used to light simple set ups. While I have worked with Arri lights and Kino Flos, when you are starting out you should rent these expensive lights.
Lowel DV Creator 1 Kit, Analog & Digital Video Lighting Location Kit with LB-30 Soft Case – $789.95
This kit is a great kit for the price in terms of output for your dollar. The Lowell DV creator kit will serve you well to light one person and a small background. I would supplement it if you can afford it with the below set as well. Also, the lights in this kit get very hot, very quickly so make sure to get gloves, listed below, to handle them. Another tip is to always make sure you have backup bulbs for each light in your kit. Click here to buy now.
Lowel LC9568 Rifa Big Triple Soft Kit, 2250 Total Watts
This softbox kit is great when you want to get a soft look and works well in conjunction with the hard lights above. Another note, be aware of drawing too much power from one circuit. If you plug too many powerful lights into one circuit you run the risk of blowing a fuse. If you are on location somewhere and have no idea where the circuit breaker box is for the room you are working in this becomes a ginormous problem. Click here to buy now.
Accessories
There are a plethora of useful film accessories. I have listed below some of the more common ones. When you are working on someone else’s production always keep an eye out for accessories that will make your job easier.
Lens Cleaning Kit
Giottos Optical Cleaning Bundle with Rocket Air Blaster, Brush & Liquid.
You should always have a cleaning kit on you. This kit is great to safely and clean smudges and remove dirt and dust from the sensitive areas of your camera. Just do not use them on your sensor, that is a strict no-go. Click here to buy now.
Tether Tools Rock Solid Hot Shoe Adapter
This is a great tool to allow you to place accessories onto your camera’s hot shoe. Click here to buy now. Click here to buy now.
Leatherman Surge Powerhouse Stainless Steel Multi-Tool
You will use this Leatherman way more than you realize. Having a multi-tool allows you to work quickly and efficiently on set. I like this model as it has larger scissors which I seem to use all the time. I also included the bit kit as it extends the functionality and adds very useful hex bits. Click here to buy now.
Leatherman 21 Piece Tool Steel Bit Kit
You should always have a cleaning kit on you. This kit includes all you need to safely and clean smudges and remove dirt and dust from the sensitive areas of your camera. Just do not use them on your sensor, that is a strict no-go zone unless you know what you are doing. Click here to buy now.
Adorama Gaffer Tape 60 Yards x 1″- Black
Gaffer tape is like magic on set. I have seen skilled Gaffers use Gaffer tape to hold lights in position and I have used it for 101 different uses. It is primarily used though to keep people from tripping on cables which are a definitely hazard on any set. Click here to buy now.
These are great gloves and will allow you to handle hot lights as well keep your hands protected from knicks and cuts from on-set equipment. Click here to buy now.
There are plenty more accessories that are very useful. What do you find yourself using all the time? Feel free to leave your favorite accessories in the comments.
A Bit Of Advice
I could fill a post with tips and I very well may write a post with tips, but for now I’ll give you a few pointers to help you on your way to a successful gig.
I follow the three C’s. Communicate, Confirm, Check.
Communicate with your client. Get to know what they are looking for. Meet them for coffee to discuss tone, visuals, what type of story they want to tell. Ask them about their product/service/event. Who will be watching their video? What are they hoping for the viewer to do once they’ve seen it? Share it, purchase something, or contact them for more info? Have the client do most of the talking. Ask lots of questions and take loads of notes.
Confirm everything in writing with your client. Have a contract that details everything you and the client have agreed to and who is responsible for what. Make sure you cover all aspects of pre-production, shooting and editing. How many days are you shooting? How many days are you editing? Are you charging using a flat rate, per day, per hour? How many revisions will you provide? What are the costs if they require extra shooting or editing time? What is the delivery date if the client meets their deadline for revision notes? In what format do they want the final product? I’m not a lawyer, so I can’t offer you a contract template, but they can be found online and then modified to fit your needs. Though at some point a lawyer wouldn’t be a bad idea!
Check with your crew, check your batteries and media and check your equipment at least one business day before your shoot. Make sure you have enough time to get or fix anything you need for the shoot. Media can get corrupted, batteries can stop charging, maybe you forgot that you loaned a buddy your tripod plate (that has definitely never happened to me :-P). Always have backups of everything you can’t work without. Have an extra baseplate in your tripod bag, have more batteries and media than you need for your longest projected shoot, and check your camera. Make sure your camera is working perfectly. Roll a test shot sand review it. Always be checking.
This is just the tip of the iceberg, but it’s a solid start. I wish you all the best on your gig and if you have any advice to share, leave it in the comments below.
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