Rick Wise
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Were I to buy a doc camera today, I think I’d go for the Sony Z5u because of its ergonomics and good low-light performance. For scripted work I’d probably pick the EX-1. Others will have other ideas.
I suggest you start by stating your budget, and whether that needs to include support items such as a tripod, etc. You could also do a Cow search for Documentary, as well as a GoogleSearch for “documentary camera.” Check out what BHphotovideo has to offer in your price range and read the user reviews. Narrow your choices down to 3 cameras, then eliminate one-by-one until you are left with your best choice.
All of these prosumera cameras are quite remarkable. They do not produce “film” images but with a good eye you can shoot good footage. Whichever camera you paick is going to be great for you if you are a great cameraman with a great eye for composition, shadow, light, color, movement. It is not the camera, it’s the cameraman, always, that makes the “film.”
Rick Wise
director of photography
San Francisco Bay Area
and part-time instructor lighting and camera
grad school, SF Academy of Art University/Film and Video
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com -
As with another post, I think the best recommendation to give you is to hire a good gaffer, preferably one who knows this studio. The studio itself will have a list of these guys. Explain what you want to do and he/she will come up with a working equipment list.
Rick Wise
director of photography
San Francisco Bay Area
and part-time instructor lighting and camera
grad school, SF Academy of Art University/Film and Video
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com -
I will certainly second Michael’s suggestion: hire a gaffer. You have developed your eye, and you know how to make what you want happen with still equipment. You are going out on a limb to try to do this the first time with video all by yourself.
You mention HMIs late in your post, but none are listed in your gear. Yes, you can mix daylight kinos with HMIs. You can also mix in tungsten kninos if you want a warm (very warm) section. Kinos have a short throw and work great for some situations, not for others.
I suspect a 5K through opal on the doors and 8×8 1/2 grid cloth out in front will come far closer to the look you are used to with your Octagon than a 2 K through silk.
But, if at all possible, find an experienced, creative, thoughtful, listening gaffer. Some of those guys are extraordinary and have made my day again and again and again. Once in a while I have had to work with some stiff head, and that was a misery. So, ask around, and at least talk to the guy first on the phone to see if he’s receptive to your ideas or just wants to do it his way for his look. That’s the kind of gaffer you do not want….
Rick Wise
director of photography
San Francisco Bay Area
and part-time instructor lighting and camera
grad school, SF Academy of Art University/Film and Video
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com -
Do you need to see the floor too, and is it white? Is there a cove?
If the answer to both of the above is yes, then what you have will not work well at all. You will want an even illumination of the wall and floor, and some sort of fill and/or key on the actor(s). Whatever you use, it is somewhat tricky to get even illumination of the whites, and also make the actors look good. Usually this is accomplished with broad, soft lights for the walls, often via space lights, and equally broad soft illumination of the floor. Then add back light(s), a key which can be hard, and possibly some soft fill. Takes an experienced gaffer plus grip with a good crew.
Note that unless you get an EVEN illumination, your whites will be all over the place, from clip to some sort of gray.
If the stage is tiny, and you don’t see the floor, then your problem is much simpler. By pushing your hard lights through diffusion you just might get away with what you have.
Rick Wise
director of photography
San Francisco Bay Area
and part-time instructor lighting and camera
grad school, SF Academy of Art University/Film and Video
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com -
Great find. Thanks!
Rick Wise
director of photography
San Francisco Bay Area
and part-time instructor lighting and camera
grad school, SF Academy of Art University/Film and Video
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com -
Vince, the model R200 had a difficult-to-line-up tray. That’s the model I used to have, and made it work until it died. The R280 has a very simple, clear slot and is a breeze to line up. You open the door, lift the drop-down tray up out of its normal print slot, reinsert it in the marked space above that. The printer whirs around a bit and is ready. You place the DVD in a tray very similar to the one on the R200 but this time slide it into the clearly marked, easy-to-use slots in the flop-down tray, and push it in until the arrows line up. Super easy.
Rick Wise
director of photography
San Francisco Bay Area
and part-time instructor lighting and camera
grad school, SF Academy of Art University/Film and Video
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com -
I am going to respectfully disagree with Vince. I have had problems printing DVDs with an earlier version of the Epson Photo R280, but none at all with the R280 itself. It’s a breeze to use to print DVDs, once you understand the directions. Yes, you will have to read the directions — none of us like to do that. For the price, this Epson is one fine printer.
Rick Wise
director of photography
San Francisco Bay Area
and part-time instructor lighting and camera
grad school, SF Academy of Art University/Film and Video
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com -
The cheapest DVD-printing Epson I can find is the Epson Artisan 50, for $100 at Amazon. The one I have, the Epson Photo R280, which I like a lot for small-batch DVD printing, is currently $133 through Amazon.
Rick Wise
director of photography
San Francisco Bay Area
and part-time instructor lighting and camera
grad school, SF Academy of Art University/Film and Video
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com -
[Craig Alan] “Are you planning on the kit being daylight temp? What type of open face lamps?”
Craig, because of cost, the kit must be tungsten, so it must have enough wattage that by adding 1/2 CTB students can shoot interiors with lots of daylight (though they will not have the firepower for a large room with huge windows.)
[Craig Alan] “What do you see as a budget for this kit per student? How much for the course? How will you evaluate student work? Will they direct/videotape what they light or be LD or DP on local productions? I’m thinking the camera being used will vary the lighting choices/results. Are they going to be one-person crews?”
The equipment budget I am still working on. I do not know the cost/class, except that it’s darned expensive. The cheapest I can come up with so far for lighting and grip gear is close to $1,700, which is a lot for most students to spend. This kit would work, however, for several of the eventual on-line classes, so the costs can in effect be amortized. Remember, these are graduate students going after an MFA. They have to take a slew of courses to get that degree. On-site, students take about 3 years to complete the requirements.
As to evaluating, the course runs 15 weeks. Once a week there is a 3-hour on-line session with the instructor. They will have weekly reading assignments in “Cinematography” by Blain Brown, as well as a slew of shooting/lighting assignments. There will be tests (I don’t see how to prevent students cheating by using an open book, but that is more their problem than mine) and much show and tell with lots of feedback from me, and hopefully from fellow students (though I find in-class, most students are extremely reluctant to say anything but nice words about their colleagues’ work, which renders their comments of marginal educational use.) Because of the nature of students being isolated all over the world, they will primarily be one-man crews. The more they can rope in help, the better for them. As for camera choice, they will have already purchased a Canon HV40 for the five core classes that come before this one. They will be encouraged but so far not required to purchase a more advanced camera for the advanced classes.
The entire Academy education is geared toward students with significant bucks (usually Daddy/Mommy-bucks), though there is a bit of scholarship available, at least for on-site. There are MANY other ways to get an education in filmmaking. I don’t really want to get into a discussion of the merits or lack of merits of on-line vs. on-site education (I strongly prefer on-site) or how good/bad is the Academy. Helping set up the on-line version is what I am required to do, and so I’ll do it as best I can.
So if I can, I’d like to redirect all comments to the original post: what “professional” lighting gear can you recommend that saves over the usual suspects of Lowel/Arri kits, etc.?
Rick Wise
director of photography
San Francisco Bay Area
and part-time instructor lighting and camera
grad school, SF Academy of Art University/Film and Video
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com -
Todd,
The Amvona green screen does not include a support system. With theirs, the total is much more.
Please do send me the other source for non-Arri Arri lights!
Rick Wise
director of photography
San Francisco Bay Area
and part-time instructor lighting and camera
grad school, SF Academy of Art University/Film and Video
https://www.RickWiseDP.com
https://www.linkedin.com/in/rwise
email: Rick@RickWiseDP.com