Do I need any more gear to make a GOOD feature film?

True but doing video on a hand held iphone looks terrible in my opinion. I need stabilization one way or another. I am not looking for an excuse to buy gear, just trying to know the types of movements of my shots, so I can storyboard without having to run into a wall all the time. I don't need to buy a steadicam, but don't want my footage to be all shaky either. There are some shoots, where I want to do chase/fight sequences, in my script, and a tripod will take too long to line up and plan for each shot. Where as a steadicam you can shift anywhere you want. I don't need a steadicam necessarily but if it's handheld, going from all tripod shots, to shaky chase shots, might be too inconsistent to the audience. Not sure.
 
If you have the budget to buy/rent a steadicam then plan and storyboard the movie with it in mind but don't buy it yet. Once you have everything lined up (pre-pro, actors, crew, location etc.) go and rent/buy/borrow it. Depending on your locations, or the way the action is going to unfold, etc. you might realize that you don't need a steadicam but a dolly instead, or maybe that it is better to film everything off an ATV or car etc., so you just potentially waste money by buying it early. Also, if you buy it today, it might take you another 6 months to get ready to shoot... within this 6 months, there might be a new model coming out... so you just wasted some money again....

About the gear in general.... Not too long ago I decided to shoot a little spec commercial just for fun. Since I had access to a Panavision Camera package I decided to shoot it in 35mm. The problem was that everything was on short notice. I didn't get a proper crew together, I didn't have time to do proper pre-pro, the location/costumes/PD etc was kind of bad, and so on and so fort... Even though I had access to some of the nicest gear, the final product looked pretty much like cr** (on 35mm). Trust me, if I had have time and energy to put into proper pre-pro, planing, casting, crew, it could have looked 1000 times better even if it was shot on an iPhone....
I've been a "gear-head" myself, but I got over it... I don't even own a proper video camera anymore besides my GH2... If I shoot something I just rent or borrow whatever fits the job...

Here are some iPhone pictures from the web I kind of like... Yes, the camera is not really "good" but in the right hands, it doesn't matter that much. Most people couldn't take pictures have as good with a Canon 5D...
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when it comes to a steadicam type rig, there isnt a lot of "newer model" things to be concerned with. for the most part they do one thing and either do it well or not.

the one sentiment i'd echo here is you dont just buy one one day and competently use it next week. ive used a steadicam-type rig off and on for about 8 years and i STILL just BARELY consider myself COMPETENT.
yeah, with work on a daily or reasonably constant basis, you MIGHT be able to get reasonable use out of one in a few months or possibly weeks. but i will tell you from experience. buying one just to have, in case you need it. will bring you more frustration, disappointment, embarrassment than anything else... that was the case with my merlin. having used my bodymount-style, i figured a merlin would be a bag of shells. so i ordered one for a client shoot a few days later. when the shoot came round, i was still very clumsy with it. still didnt have it properly balanced and had to fake my way through it.
 
It's not that is does more things... but the re-sale value of the old model will drop immediately... And yes, get somebody that can operate... using a steadicam is like playing an instrument... it's not something you can pick-up by practicing a couple days...
 
This is why I do not want to rent a steadicam, we will need practice. Some say it can take years, which is why I was thinking of getting one now. Only thing is is that right now, my friend has offered to be my focus puller since he is getting pretty good at that. But can he do the steadicam as well? I've seen tutorials on the glidecam where they only use one hand, so if that's the case, can he do both? There will probably be situations where he will have to use both hands. I know you say to hire someone, but what if they drop out in the middle of production, and I need a back up, which has happened before.
 
Do you want to be a director or a steadicam operator? Are you going to learn the actors lines as well... they might drop out in the middle of the shoot... you never know. Sorry for poking fun at you... I just couldn't help it. Filmmaking is teamwork, and you need to be able to trust your team.

You can't pull focus by hand when the camera is on a stabilizer, you would need a remote follow focus... This shouldn't be your concern anyways, let the DP worry about that... if you want to direct, you have enough other things to worry about...
 
there is nothing wrong with having (wanting) gear. but in many cases you see folks (especially the new herd of DSLR jockeys) getting drunk on gear and either using it as a crutch or overusing it...

its practically impossible to operate a gimbal-based stabilizer and control focus at the same time. the ONLY reasonable option would be a wireless focus. but even then, ANY shift in weight (even moving a cable) will set the balance off and send the camera moving. same logic applies in the VERY FEW situations where it would be reasonable to be operating a stabilizer with one hand.
 
Okay so basically it can work if it's a two person job. My DP knows a lot but has never used a steadicam before. He says he would much rather pull focus, since that's what he knows, but has no idea if it's possible to pull focus while another person operates the steadicam. So I had to ask. Thank you all very much if I haven't missed anything!
 
Okay so basically it can work if it's a two person job.
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no, no, NOOOOO! we keep very clearly answering your questions. but you seem to be speaking some other language or simply only digesting the parts you want to hear...

: (

no matter how many people are involved, if anyone other than the operator driving the rig TOUCHES a gimbal based stabilizer during the shot - especially if the camera is in motion at the time - ITS almost certainly GOING TO NEGATIVELY EFFECT THE SHOT! how sensitive that is or how drastic will have some to do with the specific move and how heavy the whole rig is. but im assuming you'll be using a dslr, so your complete rig wont be very heavy, so the force used to turn the focus ring IS GOING TO MOVE THE STABILIZER! your ONLY reasonable option to manipulate focus (unless your operator is a ninja, sniper or cirque du soliel acrobat) is to use a WIRELESS follow focus.

these rigs are very sensitive. as an example, simply swinging out the onboard lcd screen of your camera will off set the balance of the rig.
 
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...which is another reason why renting is just a better option... a decent remote follow focus costs several thousand dollars. Other option is to design your shots in a way that you don't need to change focus....
 
Yeah but renting is hard cause I and the operator will need practice, and I would have to rent it out a lot to get that practice. Which or course will dely the project, cause we cannot have it whenever we have free time, cause the store will not have it available. I also checked and the store does not have any though. I think I will redesign the shots for handheld or tripod. I would still need to refocus though cause we will be shooting at night, and not have a deep DOF at all.
 
if you really think this is something that you'll get good use from. i say buy yourself an entry level, hand-held glidecam or steadicam merlin that can eventually be upgraded to accept a vest/arm when and if needed. buy in is generally $400-$600, and will give you a good platform for learning without killing your bank account.
 
I think it will be the gear I get the most use out of besides the tripod. You can move the steadicam in so many ways. As for not quite having bought the slider yet, I am still deciding if I should get that or a jib. I don't want to buy both. But I think I will get more use out of slider for a shoe string budget production, although could I be wrong? I can think of a few shots that a jib would be good for but a slider or glidecam can perhaps still get just as good of shots instead.
 
Hey ironpony

1. What is your definition of "GOOD" ?

2. That CordVision guy gave you some really good advice. And did everyone else.

3. Maybe just put together a script and visual / directing plan SO AWESOME that people offer to help you out? Attract good actors, etc.

4. Maybe go and take a look at your favorite directors' first features and the path they took to get there?

Bruce Allen
www.boacinema.com
 
I probably shouldn't try dwelling into this subject, but either the OP is joking or vastly inexperienced.

Maybe he should just buy what he needs and plan the way he wants, and after that experience buries him into the ground, he can come back here and ask what went wrong. A feature film is a lot of work and like many have said, a team effort is absolutely necessary.
 
Yes it will be a team effort but I am the one paying for it and still have to decide what I want in the budget.
 
As for not quite having bought the slider yet, I am still deciding if I should get that or a jib. I don't want to buy both.
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as an owner of both, i will tell you this:
with a deep depth of field, (and enough room) you can fake a slider shot with a jib. but you're not going to fake a jib shot with a slider.

i do mainly corporate and advertising work. but from my uses, here is the billable use i get out of my gear. in order from most to least:
tripod 75%
jib 15%
slider 8%
steadicam 2%
 
I'm real fond of the KISS method... Keep it simple stupid. In other words don't write over your means. Don't write scripts about a trip to Venus if you don't have the money to build a space ship set. Don't write in super overhead jib moves through a window if you don't have the budget for a SuperTechno Crane & operator, Don't write dialog scenes between 8 people in a room if you don't have a real audio team, Don't write a movie which takes place at night if your camera has poor low light performance and you don't have access to a proper light kit. Instead write within your means and make the best possible movie you can with what you do have access to.

And to address your initial question, "Do I need any more gear to make a GOOD feature film?"
When it comes to making a good feature film, your gear is the smallest part of the equation!

All the Best!

Dave
 
Ah, this is yet another of those treads where a bunch of pros chime in knowing they speak to a totally inexperienced filmmaker with the assumption that their words will be take as those of God only to discover that the inexperience prevents the OP from seeing all the wisdom being downed on him/her...
 
Home sweet home.

A friend of mine built a 20 foot jib when he was 14 with his dad. It was crude but it worked and performed the job beautifully. It's only money. Whatever is bought will be of value at some point, and it can always be sold later if it isn't needed anymore. Perhaps after learning more about the values of story telling, the equipment will be sold towards a great camera package or towards a bigger budget for a project. I bought a steady cam 2 years ago and it sits in the closet, not yet used. I have no experience with such equipment but was hoping to learn. I bought it used, it cost less money than a new one. So maybe I wasted my money, maybe one day I will take the time to actually learn how to use it.

You cannot dictate to someone about an experience and expect them to understand. They must experience it themselves and if they do, they will so differently than you.
 
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