[Ken Maxwell]

First off I’d get a big car. Shoot any and all exteriors of the car. I seriously doubt that you can shoot anything other than a close-up with the camera in the car so I would remove the windshield, cut a large hole in the roof for lighting access (and possibly shooting), roll all of the windows down, get a door mount, a hood mount, tow it all on a genny equipped car hauler, drive down the road and shoot away. I presume that you will be shooting this production to a track playback and not recording it live.
Good luck,
Ken

P.S. How did you get such a job if you had no idea of how to shoot it?

[Ken Maxwell]

Eric – I didn’t mean to sound flippant earlier. It is just that we daily hear, “I’ve always wanted to be in the movie business”. Or the old classic, “Yesterday I couldn’t even spell producer and now I are one”.

To get the GIRLS GONE WILD look I would suggest going to a WalMart, buy a $500-600 camera, put a self contained LED light on top of it, hand hold it and shoot away with close-ups while capturing the audio from the built-in mike. You’ll encounter post cost for converting you footage to an editable codec but your budget should cover that.

Sincerely, good luck.

Ken

[Ken Maxwell]

I get the feeling that you are a beginner at production and that you feel that you can contributes to the credibility of your location interviews by shooting them yourself. That is a major mistake. Your smarter move would be to hire a couple of guys from the production company who is doing your studio work. Let them supply the needed equipment and direct them to shoot “run-and-gun” style. They should be able to give you the spontaneity you are looking for. . . and it will be broadcast-acceptable.
However if you are looking for an excuse to go out and buy a camera, well, that’s a different story.
Good luck,
Ken

[Ken Maxwell]

Interesting reply from JVC. I have two OEM viewfinders for my GY HD100UA and they both demonstrate the same intermittent color shift regardless of which is connected. When the shift is clear either finder is clear of the shift when swapped back and forth. When the color shift appears either finder shows the color shift when swapped back and forth. Flexing or manipulating either finder cable has no effect on the problem. The color shift occurs intermittently with either viewfinder, even when the camera is locked off and sitting for a while. Internal temperature change doesn’t seem to affect it either.
It would be interesting to see if the cable repair works. . .if anyone goes for the $200 deal.

[Ken Maxwell]

Possible problems:
It will add substantially to your monthly overhead (utilities, insurance, staff, equipment, etc.).
You have to be fish or foul. Most small production companies and Indys don’t like bringing their clients into a competitor’s arena. Either build it as a rental facility or for your own exclusive use.
Only build it for yourself if you have the the demand and can increase you business, and fully justify and sustain it with your own work.
Been there, done it.
Good luck.