Supplies for new film

N

NatetheGreat18

Member
Hi,

I am buying a DVX100 for my new film and here are a list of accessories and supplies I'm planning to buy as well but because I am new to this I don't know If I'm missing anything or if incompatibility issues are present. Can you guys please help me and tell me if everything checks out, if I'm missing anything, etc.

1.Letus35 Extreme - $1000 - $2000
2.IndiRailsPRO Rail System 18” - $129
3.Follow Focus - $300
4.Manfrotto 503HDV,351MVB2K HDV Tripod System - 75mm - $655
5.Ikan v7000 7” LCD Monitor with mounting kit - $500 http://www.ikancorp.com/pages/monitors/v7000_dk/index.htm
6.Glidecam 4000 Pro - $430
7.Glidecam Camera Crane - $480
8.Glidecam Smooth Shooter - $1400
9.4x4 Mattebox kit - $600 - Will this fit onto the DVX100 and/or do I need some type of mount?


10..6x Wide angle lens - $500
11..7x Wide angle lens - $900
12.Canon EF 85mm Lens - $300 - $400
13.Canon EF 50mm Lens - $80 - $100
14.Canon EF 28mm Lens - $180

Do these Canon lenses need something else to be attached to the camera or do they just fit right to the Letus? Also, do they come with the lens hood? Will the 4 x 4 matte box fit onto the Letus/ Canon Lenses? Is the Ikan monitor and mount system good? Is the indierail system good? Will the Letus35mm fit onto the indierail system?
 
The camera doesn't make the film. To get moving with the smooth shooter it is going to take a lot of work. Especially to get used to a 35mm adapter system. There is light loss to deal with, so you need a lot of light to get the look.

Take a look at some nice lighting gear. You are also forgetting the audio acquisition, costs for crew, locations, talent, props, costumes.

If you don't have great audio, you have nothing. There are other things I think you need to look at rather than a 35mm adapter and a ful set of primes and generally a lot of un-needed supplies.

Do you need that crane? How many shots will you logically use it for? You also need some good sticks and a good head so that you can support that crane.

I would consider renting the crane if you really need it.
 
I already have the crew and locations. This project has no need for props or costumes either.

You are right, I don't need the crane. What light kit(s) do you recommend? How do I achieve great audio too? What is a really good tripod?
 
Ok, how bout these parts. Anything I'm missing? Any better light kit or tripod or rail system recommendations?

1.4x4 Mattebox kit - $600
 http://www.bhphotovideo.com/c/product/402967-REG/Cavision__4x4_Bellows_Matte_Box.html/iso/y
 2.DVX LCD Monitor Hood - $25
 3.Letus35 Extreme / Zacuto Studio Kit - $3,108
 http://www.zacuto.com/Letus_studio_kit.htm
 4.AltmanFoto Pac Tungsten 3 light kit - $1,439
 http://www.bhphotovideo.com/c/product/196874-REG/Altman_AK_FOTO_PAC_Foto_Pac_Tungsten_3.html
 5.Bogen Manfrotto Tripod - $459
 http://www.bhphotovideo.com/c/product/362145-REG/Bogen_Manfrotto__055MF4_MagFiber_Tripod_Legs.html
 
I would take the $1400 you have budgetted for wide angle lenses and put that towards the tripod. For my money, a $2,000 tripod is a better investment than a mediocre tripod and two wide angle lenses which I can almost guarantee you won't need. What are you shooting that requires them?
 
NatetheGreat18 said:
because I am new to this I don't know If I'm missing anything or if incompatibility issues are present.
Click to expand...

If thats true then consider cutting your costs and rent some of it. In addition Id scrap the plan to use a 35mm adapter. Shoot with a DVX and worry about composition and lighting (rent for quality). Hire a sound guy with his own gear also if you can unless of course youll be working / earning money with your gear on a regular basis.

Just IMO.
 
What is the matte box for? I shoot with the sgpro and never had a problem, you could probably make something that has the same effect and doesn't cost anything
 
"Manfrotto 503HDV,351MVB2K HDV Tripod System - 75mm - $655"

Do you REALLY need a $700 tripod? lol
 
wreck2 said:
"Manfrotto 503HDV,351MVB2K HDV Tripod System - 75mm - $655"

Do you REALLY need a $700 tripod? lol
Click to expand...

I wouldn't put a 35mm setup on a $700 tripod. You get what you pay for. So if you just spent all that money for the camera, adapter and lenses, why get a tripod that might fail you?

With all the accessories that rig will weigh a lot, look for a tripod that can support it.

That is, if you think you really need the adapter. You could use this film as a learning experience and work on lighting, frame composition, camera movement and also story telling.
 
I don't think the Smooth Shooter can hold the weight you'll be putting on it with the Adapter, rails, lenses, mattebox and whatever else. You're easily pushing 10lbs with that rig, and the Smooth Shooter is rated for 20 lbs TOTAL (weight of cam and accessories, Glidecam 4000, and counterweight).

Look at the Manfrotto 519 head, or 516.

Is this your first flick, and do you plan on making money from this gear? If it is your first flick, you're putting a crap load of money into something that probably won't be very good (not to sound mean, but not everyone is Orson Welles), and if you don't have plans to make money off this, then it's a lot of coin to drop.

If this is your first flick, just get what is a necessity, which is a good tripod.
 
look at the market for used tripods as well, you can find some good deals and save some cash.

Start with the DVX and then graduate to a 35mm adapter if necessary but its a lot of extra gear/headache to deal with. Lighting is more important probably.
 
Telling the story visually, the best you can should be the number one focus of your project. If it doesn't serve the story, get rid of it or change it. The second focus, since your likely dealing with volunteers is feeding them well.

Its easy to get too heavily focused on purchasing equipment.

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OK, you're on set, and decide actor 1 is going to be ten feet back from the camera to begin the scene. How high should you set the tripod? Next shot will be the first external reverse on a pair of actors starting on actor 2 for brief dialogue between actor 1 and actor 2. How high should you now set the tripod?

Where should they be placed in the frame?

What will you do with the framing when you set for the internal reverses?

What focal lengths are used to keep the nearer actor's head from looking huge compared to the facing actor's head?

What should you avoid doing with shot selection when you are first introduced to characters as opposed to later on when they are more familiar?

What are three things to watch for when casting a potential actor?

Actor 1 typically gets their best take right away while actor 2 usually has their best take around take four. This is a fairly normal occurance. How do directors deal with this to ensure both actors give a good performance?

Equipment doesn't know any of this and it doesn't know if its rented or you own it. If you suck at visual storytelling it will show up right away and it doesn't matter if you have ten truckloads of equipment.

Everyone has to start somewhere, so use this project as a learning experience and good luck!
 
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