In the meantime, as I contemplate my next camera kit, I'll share the details of my current kit and what I've been using to make some money over the past few months.
So let's dive in:
Camera Case
Here's the gear in the case. Tip for anyone planning to keep their gear happy: Pelican Cases. Do not skimp on protecting your assets. MOPA students will know this already though!
Everything in this case sees action when I'm out on the job with my camera. The kit includes a simple Mattebox, rod assembly, a spare AC/USB charger, extra battery, tripod lens support ring, card reader, charger w/ cord, USB and HDMI cables, follow focus rubber gear for adapting lenses, lens cleaning tools and spare mounting options. Most importantly, it includes a 40-120mm (35 equivalent) Zoom lens. This is not my favourite lens. It is slow and not a particularly sharp lens but it has a good focal range and every camera should have a lens immediately on hand. I know I'll always plan to have my lens case on me but this just makes sense to have sitting in reserve.
Old reliable as I've started calling it, the GH3. Suffers from noise in low light but otherwise I haven't had any complaints with the camera aside from some features it doesn't have. The disadvantage of rolling shutter is something I try to keep in mind when shooting and the lack of colour bars and zebra stripes is annoying. The one thing I wish this camera had was built in Image Stabilization. The new Sony cameras have this however I'm going to stick with the Micro Four Thirds system. Super 16mm sensors seem to be the most affordable for a solo videographer to run. There are cine primes out for it, Black Magic has brought out a unit, the Micro, I will buy next (in preference over the GH4) and they remain small and portable. If any production needs larger sensor cameras, they'll have to rent. Otherwise, I'll have 4K capability and a decent Mirrorless handheld B-camera to boot.
Old reliable, stay reliable. That's all I ask of you.
And here is the other vital organ of the case, the adaptors. The Metabones Speed Booster brightens and widens the FOV of the FD lenses mounted to it. The Fotodiox adaptor is both a back up and serves as a source of different field of view 'lengths'. Also incredibly useful, the follow focus unit.
Lens Case
Here is the result of craigslist garage shopping over the course of several months. It turned out well enough!
This lens case contains a screwdriver, a mini-camera with spare battery and charging cable and a lens lever.
...
Oh right, the lenses in the lens case!
So these are all Canon FD lenses. Priced between $150 and $40, all of these lenses (with one exception) are coated identically.
Here's a rundown of my thoughts on each:
24mm f/2.8 - This becomes my widest, at 35mm. Not necessarily a 'wide' when on my GH3, it does enable me to shoot people from the passenger seat of cars. I'm hoping to get a 20mm to widen my range further as my next purchase.
28mm f/2.8 - At 40mm, this lens used to be my widest prime. I mostly use this now as a back up for the lens below when a little more speed is required. It does lose focus when used on the Fotodiox adapter and it does not have the same coating as the other lenses. This makes it less valuable to me and I am in the process of selling it.
35mm f/3.5 - The person who sold this to me claimed it was worth more because it was a 'chrome nose' lens, making it more collectable. All I know is that its my 50mm equivalent and it looks pretty nice. There are faster 35mm FD lenses out there I would like to buy to replace this but I'll stick with this for now.
50mm f/1.4 - Best lens in my kit. 71mm equivalent short telephoto with great low light performance and shallow depth of field. I use this lens for most of my racking focus shots because 71mm is still short enough to move around with. Supposedly the best lens in my case in terms of image quality according to all the sources I've read.
100mm f/2.8 - This becomes a 142mm and rocks for shallow depth of field. Benefits from the fact it is physically similar in size to all of the aforementioned lenses, thus I could theoretically use it for head shots in a busy crowd without people thinking I'm singling them out. My second most used long length lens.
200mm f/4 - First level of super-telephoto. Using the Metabones adaptor, this becomes a 284mm lens. Using the fotodiox adaptor, this becomes an incredibly lightweight 400mm lens. Someday it will prove itself. All the others have!
300mm f/5.6 - Second level of super-telephoto. Used exclusively as a 600mm lens. I most recently used it to shoot the moon. Absolutely a blast to use when the occasion arises. Spoiler alert, it will someday be my second longest lens...
Sooooooon...
With a 4:3 ratio of telephoto lenses to all other categories, its easy to see that I am a long focal length geek. I enjoy focus pulling for effect both with foreground objects and background bokeh. However, I do take my shorter lenses very seriously. My most used lenses are, in order, 35-24-50. The fun of having the 100mm to throw on never gets old but I don't let that get the better of me. The knowledge that, with a little preparation, my super telephoto lenses could create some stunning visuals justifies the money spent on them.
When I get my next camera system, I will be following up with a new set of cine lenses. These legacy FD lenses however will fit on the Black Magic and the bulk of these will never be sold. They're just too much fun.
Monitor Bag
I do empty this bag and throw in camera gear depending on the job.
Either using an off-brand Canon mount battery for power or an AC cable; this 7 inch monitor has proven to be worth the investment. It has become my go to source for focus correction and allows me to, without losing view of my frame, boom operate an interview. Although I hate locking off on tripod as I feel interviews and most 'static shots' deserve some breathing to feel organic, this monitor allows me to one man band out in the field when I have to. It also allows for playback for clients. Very useful.
Audio Case
If I didn't have to worry about accompanying audio, I'd be in heaven. Thankfully, Zoom isn't that bad.
As much as I dislike fiddling with mixing (it is an art), its impossible to ignore the fact that it makes up a huge part of any video big or small. So my solution is to stick this Zoom ontop of my GH3 and use the adequate shotgun capsule. Next on the docket is a boom microphone I can call my own and a wireless lav kit. These are being pushed behind my next camera purchases in terms of priority because I care more about improving my image quality. However, either through rental or through someone else's gear; I can accommodate any sensible microphone set up with my Zoom.
The Remainder
What I didn't take pictures of are my tripods, stands, computers, bounce discs or XLR cables. All of it together means I am in a position to freelance. I haul all my gear on a two wheeled moving dolly, strapped and secure. Only time will tell what life will throw at me in terms of equipment but I'm 'adequate' enough at the moment to make money. When I upgrade, I'll be in a good position to charge kit fees because I'll have a camera and the lenses to produce festival worthy content. All I want and need are the people who will both pay and direct me towards producing their vision.
In the meantime, I'll take on more odd jobs and get as much experience as possible. I hope to get more well rounded in the post side of things this year in school as well as tackle more writing!
See you on set,
Linley Redford
