Essential kit for a DoP?

L

leeburnett

Active member
I have made various work over the past few years and worked in quite a few different roles on set, but usually camera operator or DoP.

Currently own a 5d III, a decent Sachtler tripod, various lenses (although no cine primes yet), shoulder rig with follow focus etc, viewfinder.

I understand the 5d III isn't the ideal camera to own, but I'm getting better and better images from it the more I learn. For my own projects it's great and most paid jobs I've done have rented cameras/lenses, where the budget is too low to rent then the 5d III is great.

I'm definitely still in the early learning stage of cinematography, but I'm progressively thinking it's the role I most enjoy and the one that I seem to understand the most. I would ideally like to work within narrative film and documentary.

So, my question is:

What kit would you say is the best to invest in next that is essential to getting more roles as DoP, hopefully within narrative film and documentary (i understand that is quite vague, but it's early days). I have a reasonable budget to put towards some stuff, nothing too crazy, but enough to get some half-decent kit rather than go the DIY or lowest-priced route. I basically want to commit and get some kit that will be taken seriously on a proper shoot, so I don't want to skimp if it will cause problems or not be regarded as professional kit.

I'm set on getting a light set-up.
Would a decent LED set-up be respected on set for most jobs, or would they just not do for some things? The LED's really appeal to me because of no heat, compactness etc, but I've read various things about colour rendition and less control over the beam. The Lowels look amazing, but is there a noticeable difference between these and something like the Yongnuo's, which run for a tenth of the price or less?? Would the Yongnuo's be taken seriously if I turned up on a shoot with them?

What other things would be a worthy investment in your opinion?
- Steadicam
- Cine Lenses
- Filters
- Cranes/Jibs/Dollys
- External Monitors

Aside from this I want to get a decent bag and get almost everything a DoP could need on set, such as screwdrivers, spare mount screws, clamps, glue, tape, gloves, cleaning things etc. Are there things I might not think of that can come in extremely handy sometimes?

I understand that it is not entirely the DoP's job to provide this kit/tools and all the lighting etc, but a lot of jobs I get require me to act as technician and DoP and other roles as well. Plus it means I can always bring a lot to a production even if it's lower budget, or working with friends on pro-bono projects.

Maybe that's a bit of a ramble, apologies.




Thankkks
 
Getting yourself a small but solid g and e setup is a great idea if you don't want to go full out and invest in a camera package.

LED lighting won't really respected on a narrative shoot but on a doc or music video they probably won't care.

Cine lenses are also a solid investment because if you buy the right set and take care of them they can last you forever.

I would stay away from everything else especially a Steadicam unless you are VERY serious about going down that road.

You may also want to look into getting a powerful editing computer and becoming more of a complete shooter.
 
OK, that's pretty much what I was expecting to hear. The ease of use from LED lights is a bonus, but it doesn't feel right. My other option is a Lowel omni kit (http://lowel.tiffen.com/kits/solo_sm.html) and then get one bigger 2K colortran light or something similar.

I'm set on getting a new imac purely for sound and video editing. I do a lot of editing myself, so upgrading my computer is going to be essential. I'm an avid FCP editor, so the new imacs look great to me.

Why do you say that about Steadicam? The reason I am considering it is because there's still quite a few unpaid narrative projects I work on with friends that could really benefit from a steadicam but wouldn't afford hiring someone in... But I guess if I'm not considering doing it as my paid work, then there's not much benefit to it?

I know there's umpteen posts out there about this, and I've read them all, but I will ask. As for cine prime lenses, lets say I was going to get 3 Zeiss CP.2 lenses, what are essential focal lengths to start with? Is having only 3 way too restrictive? I know that as soon as I have 3 of them, there's no way I will want to carry on using my old stills Olympus Zuiko lenses.

Thanks for the respnse
 
Grip and Electric is the place to start. Being able to make pretty lighting is the key part of the job.

As for a three lens set of CP.2s - I'd suggest you grab the 21mm, 35mm and 85mm. They'll give you the most versatility from three lenses.
 
Ugg the Lowels are trash do not invest.

Arri fresnels are great but inappropriate for corporate. (I'm assuming that's what you're doing?) Though one or two can be good.

Kino Diva is nice, but overpriced by far.

How are you going to pull focus on a steadicam?

Videographer/editor kit:
dSLR
LED panels and some modifiers (diff, gel)
Lenses
Reflector
Flags
Lav
Hyper
Shotgun
Stand for mic if you can't bring in a sound guy (and you can, let's be honest)
B camera if needed
Tripod
Slider

DP kit:
Light meter
Gaffer's glass
Skill
7D so you can grab shots for fun and play the owner/op role when you're strapped for cash

DP owner/op kit:
Light meters
Gaffer's glass
Skill
Alexa
Serious high end PL mount lens kit
Sachtler or O'Connor Tripod
Arri FF, Mattebox, all the fix ins
($150k investment minimum; your skill should match your camera!)

Steadicam op kit:
Steadicam (not the toy ones, the MK-V or real steadicam or better ones)
Monitor
Wireless HDMI/SDI transmitter
Skill
Skill
Skill
Arm muscles
 
That's the thing, at the moment I'm getting a few corporate and product gigs, and also a few narrative docu style music video jobs. Ideally though, I want to work in cinematic documentary mainly.

In your list, if I was to work on a documentary aimed at the festival circuit, would your DP owner/op setup be ideal? You wouldn't recommend getting lights as DP???...

It's hard because I want kit that will give me more chance at getting work closer to DP, but also provide me with some half-decent kit to work on personal projects where hiring in just isn't viable.

Definitely not able to spend $150k (about £80k)... that would be over 10 times the kit I have now. But I do have about £15k ($25k) to spend. So the Alexa is out of the question (besides, would this not be hired in on bigger gigs??), so I'm thinking some decent CP.2 lenses, a half-decent light set-up with add-ons, and just generally upgrade my FF and other things.
 
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And if I was to go for the CP.2 with an EF mount, which if my research is correct, can be adapted to PL mount, would this be ideal or is it a real process changing it over? Can the mount be adapted the other way round?
 
Lee I have a 'set' of CP.2s (eclectic mix 15, 21, 50 Makro and 100 CF) the mounts are pretty straight forward to change but not a job you want to really do in the field but in a clean environment on a dedicated prep day. They provide shims that you can add or subtract to achieve calibrated back focus. I love working with my CP.2s and the look they give me. Yes they are future proof with the versatile lens mounts but i have noticed they do not fetch much secondhand so treat them as a long term investment not something to but and sell on to upgrade in a short time frame. On eBay they tend to go for half or less than half of RRP now.
 
That's a pretty hefty depreciation... Would it be worth getting secondhand if I could? Is there any fundamental difference in a cine lens that means they degrade easier? Seems like it would be worthwhile if I'm saving over £1000 on each lens.
 
What about things like cranes/dollys etc. I want to try my hand at designing and making some of my own, sourcing out any welding when I need to. Would this be snubbed by some directors, even if they were genuinely up to par with good quality branded versions?
 
I know this is pretty vague, but it really depends on who your clients are.

I have worked with a few ASC DPs over the years that owned maybe a few specialty filters and say a DSLR, but that's it.

Most get hired as a DP, not for a gear hire.

Put together a good reel and make as many positive contacts as you can.

Investing in a boatload of gear is not a guarantee for work as a DP.

All the Best!

Dave
 
Policar said:
Ugg the Lowels are trash do not invest.
Click to expand...

They're not for everyone, but for what it's worth I've been feeding and housing my family of 5 with primarily Lowel kit for about 6 years now (yes, the kids munch pro light scrim wafers underneath our RIFA88 roof). I shoot mostly doc, corporate, and scientific content, some commercial. Lowels are relatively inexpensive and compact for the amount of punch they can provide and work great in applications like a 'flight kit' with modifiers like umbrellas, silks, flags, etc. The small size means they are relatively delicate, though... just treat them with some care and they'll last.

That said, an ARRI fresnel kit is a good, flexible step up from that. 1x1 LEDs and flo banks are more specialty lights, IMO - very useful for quick setups and of course can be shoehorned into a number of other situations, running cool being an obvious benefit.
 
OK, that's good to hear. I've just heard various things in the past of people saying if you have such and such camera then you are more likely to get work.

I think the draw for me is to the fact that I really learn how to use kit when I own it. I do a lot of personal projects on the side where I really get to experiment, and for me that is such a big part of the enjoyment and education of what is possible and what is not.

Thanks for all the advice.
 
Thanks for the links, I have read Ways of Seeing a few times but have never seen that video. Will give it a watch.

Throughout University I gave a lot of thought to ideas such as Berger's, Debord, The Situationists etc. but I was studying graphic design at the time. Now I've spent a couple of years doing film, maybe I should go back to the beginning and give it some thought.
 
Re the CP.2 's picking up lenses one by one when they come up on eBay is a good way, that way you will probably end up with a sell on value the same as what you paid for it. The thing about cine lenses is the ability to swap lenses and not have to reposition FF and MB.

If you are going down the camera op / dp route I think you are better to choose a camera and learn it and it's foibles inside out. Ideally how it works with a regular lens set too, way better than hiring in the top gear at the last minute, having no time to familiarise yourself with it before an important shoot.

I think the DPs who are able to just own a few filters are established names who have built up their rep over years.
 
That's what I thought. I feel like I'm in an inbetween phase where I've got a lot to learn, I know what I've got to learn and it will just take a lot of hands-on time with it all, but I'm not getting jobs in that area because I haven't had a huge amount of time with certain kit.

It feels like there's a lot bigger risk in spending thousands, potentially tens, on a new camera over other kit such as lenses and lighting that will last forever if I care for it. I don't know the ins and outs of it all, but in my mind a camera body can be superceded in no time. Anyway, I can't afford an alexa or anything similar.
 
Lee when it comes to cameras I picked up a brand new F3 for about £3000 a few months ago, I think it was from digibroadcast, firesale stock I think. With new cams coming out it can be a shrewd move to pick up a recently discontinued model at knock down money, they can still deliver great imagery but wont cost a fortune so you can have more to invest on the gear that you will keep longer than c am era bodies, i.e. lenses, fluid head, sticks, matte box, filters etc.
 
leeburnett said:
Thanks for the links, I have read Ways of Seeing a few times but have never seen that video. Will give it a watch.

Throughout University I gave a lot of thought to ideas such as Berger's, Debord, The Situationists etc. but I was studying graphic design at the time. Now I've spent a couple of years doing film, maybe I should go back to the beginning and give it some thought.
Click to expand...

There is a crap of great resources, if you need more links let me know. Also re-reading some of the "old" stuff from a new film perspective will reinforce some of your positions and totally change other.
The sad things that people often get so lost in the "gear question" that they loose perspective. People in film business by large are some of the most ignorant people when it comes to conversations about power of images - which of course is as irrational as it gets.
 
I think it was ideas like this that really started pushing me away from graphic design and more towards film, I didn't really feel like graphic design gave me a viable way of balancing making an income with making something powerful and meaningful. That and I just didn't enjoy doing it, whereas I love the process of film. I just need to keep that balance and not get stuck only working on commercial projects.

And yes, I agree with you wholeheartedly that it is up to filmmakers of all kinds to respect that what they're creating has a powerful effect on people's perceptions of the world... that is a responsibility of the job. Not only that, but it should be something to get excited about.
 
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