Gear advice for restructuring a high school video class

Jon Furtado

Jon Furtado

Well-known member
I was offered an exciting position and I decided to go into the video production teaching realm. Upon starting at the facility, I've noticed that the high school production realm is very "videoish" with very little thought put into making their images look cinematic. I've had preliminary discussions with my administration about my plans to restructure the classes into a more cinematic direction now that the DSLR Cinema genie is out of the bottle. They are all on board with my vision, the challenge now is, what gear packages should I acquire for these students? Coming from a professional production background, I'm used to working with a certain level of professional gear. Their existing gear package is lacking a LOT of that. Even fundamental basics.

My questions for all the DVXUser's out there are:

1. What is the most affordable bang for my buck camera systems to purchase for the school? I want it to be modular, so I can replace the camera in the future, but keep all the support gear for the next camera "brain."

2. What is the best bang for my buck camera slider? I have a Kessler Cineslider. But I find that this is far outside of their budget. I'm looking for affordable, durable, quality sliders that the students can use.

3. What is the best bang for my buck lighting kits? I am used to at least using an Arri 3-4 light kit. Unless i find some surplus/used kits, these seem way outside their budget. I want to introduce professional cinematic style lighting to the students, but I can't unless I have some sort of lighting kits for them to use and practice with. I figure hot lights are a great starting point. Suggestions?


Overall, their existing gear needs a ton of organization and sorting. But I'm a very organized individual who plans on getting the entire facility into order. They also have a very limited budget. I'm probably lucky if I'll see $10k in the next 2 years for new capital purchases. I'm trying to figure out how to spend these in the most efficient way possible. They are also in a super hurry for me to spend it due to the structure of their business year.

What are some of your suggestions? I'd love to start a dialog here. I'm new to teaching, so I could use all the help I can get.
 
That's a pretty limited budget, so you're going to have to choose between one mid-range unit to share and a few low-end, or low-ends for everybody.

At that price-point, I don't think there's any such thing as "modular." The only modular setups that I know of are REDs and the Sony F line.

Although Nikon lenses tend to be a little more adaptable than Canons for mechanical reasons, so if you're buying lenses (and you're not buying PL glass) I would go with Nikon mounts.
 
AF100 are plentiful and cheap, and they demand the user to understand exposure. They can take any lens, making it possible to get some decent old primes within your budget.

Regards,
Craig
 
Have you thought about contacting any of the local TV stations. Maybe they might be able to "partner" with your school, donate their used professional gear, do a news story about it?
 
David, I've been stratagizing about which TV stations, companies to contact. Luckily we're blessed with a top tier location in the bay area and a lot of TOP companies throwing their support behind the overall school.

I've been debating on used AF100's. I myself have one, and have produced the majority of my work on one. Which can be seen on my website: www.jonfurtado.com

I've been cautioned to not have such high expectations of the students since for some, this may be the first time they've even held a true video camera.
 
I would highly recommend that you go with something simpler for teaching. On the high-school level, instructing them to make everything cinematic can be a disadvantage, since there is still plenty of "video" out there in news, sports, lifestyle television, etc. Learning the difference, and how to apply the right look to the right project, is important.

Also, learning on a self-contained camera that doesn't have all the bells and whistles forces them to think and overcome challenges. Kind of like learning tape-to-tape editing forced creative thinking that was beneficial to nonlinear editing, learning without a large sensor and interchangeable lenses and all the other nifty gadgets can be more fortifying. Perhaps look at the AC-90, since it can shoot 24p and 50i (cinema and video), but offers a hefty enough set of professional controls that the students can learn about manual image control as they go.

As for budget lighting, Lowell kits offer some bang for the buck. A couple of RIFA softboxes (an 88 and 66, or a 66 and 44), a couple of Omnis, and a couple of Pro lights can be a good starting place. B&H has kits that offer various configurations of those with control and filtering accessories. Teach them how to make their own cookies using foam core.
 
Jon Furtado said:
David, I've been stratagizing about which TV stations, companies to contact. Luckily we're blessed with a top tier location in the bay area and a lot of TOP companies throwing their support behind the overall school.

I've been debating on used AF100's. I myself have one, and have produced the majority of my work on one. Which can be seen on my website: www.jonfurtado.com

I've been cautioned to not have such high expectations of the students since for some, this may be the first time they've even held a true video camera.
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I have no idea what a high school needs for production equipment. But fun music video. Good job!

 
Gillvane said:
I have no idea what a high school needs for production equipment. But fun music video. Good job!

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Haha...thanks. There's an...interesting story behind that music video. The director took it in a completely different direction than when we shot it on set originally.
 
Alex H. said:
I would highly recommend that you go with something simpler for teaching. On the high-school level, instructing them to make everything cinematic can be a disadvantage, since there is still plenty of "video" out there in news, sports, lifestyle television, etc. Learning the difference, and how to apply the right look to the right project, is important.

Also, learning on a self-contained camera that doesn't have all the bells and whistles forces them to think and overcome challenges. Kind of like learning tape-to-tape editing forced creative thinking that was beneficial to nonlinear editing, learning without a large sensor and interchangeable lenses and all the other nifty gadgets can be more fortifying. Perhaps look at the AC-90, since it can shoot 24p and 50i (cinema and video), but offers a hefty enough set of professional controls that the students can learn about manual image control as they go.

As for budget lighting, Lowell kits offer some bang for the buck. A couple of RIFA softboxes (an 88 and 66, or a 66 and 44), a couple of Omnis, and a couple of Pro lights can be a good starting place. B&H has kits that offer various configurations of those with control and filtering accessories. Teach them how to make their own cookies using foam core.
Click to expand...

I suppose I should explain that we have about 4 Sony EX3's, 2 EX 1's, several random DSLR's including Canon 2TI's and a RED ONE. It's more about the assortment or random non matching gear that has me thinking of selling off some and getting a more uniform set of gear. The RED ONE is far beyond their level, but I can't figure out how to fit it into a high school program.
 
Jon Furtado said:
I suppose I should explain that we have about 4 Sony EX3's, 2 EX 1's, several random DSLR's including Canon 2TI's and a RED ONE. It's more about the assortment or random non matching gear that has me thinking of selling off some and getting a more uniform set of gear.
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The SONY EX cameras are more than enough! You have four EX3 cmeras? Two EX1 cameras? Those are not mismatched at all. Very capable cameras. You have enough to send out three 2-camera crews, or to set up a great 4-camera studio shoot with sync.

If it were me coming into that situation, I'd be delighted to find that kind of gear inventory, with or without the DSLRs. The T2is are useful cameras, and can be tricked out to create some killer, little production kits when you want to get "cinematic," but the Sony EX cameras have 24P. Besides, "cinematic" is created with a film frame rate and in how you handle the framing and camera movement. It's also not appropriate for every project.

If you want to make use of the DSLRs, get one of THESE, one of THESE, and one of THESE for each T2i and turn them into run-and-gun documentary kits. You could add an inexpensive set of vintage primes just for the experience, but a decent workhorse zoom for each camera would be plenty... something in the 24-70 or 28-75 range is a useful standard lens for APS-C.

Jon Furtado said:
The RED ONE is far beyond their level, but I can't figure out how to fit it into a high school program.
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Ditch the RED. Sell it and use the money for lighting and sound support. (You do have sound support in mind, don't you? :Drogar-BigGrin(DBG))
 
Jon Furtado said:
I suppose I should explain that we have about 4 Sony EX3's, 2 EX 1's, several random DSLR's including Canon 2TI's and a RED ONE. It's more about the assortment or random non matching gear that has me thinking of selling off some and getting a more uniform set of gear. The RED ONE is far beyond their level, but I can't figure out how to fit it into a high school program.
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What's the program directive? Are you trying to train grips, electrics, and camera operators? Or is this about creative writing and directing?
 
Given your limited budget, and that students will need portable solutions that will work in both daylight and tungsten conditions, here's what I would look at...

CAMERA
New Panasonic G6 with 14-42mm f/3.5-5.6 II Lens (currently $580)
Used Panasonic AF-100

The Panasonic G6 is low cost, shoots 24p/30p/60p, has very high quality ETC "crop" mode, focus-peaking, and can be controlled/monitored wirelessly via a smart-phone or tablet. The version II kit lens is optically quite good, with built-in OIS for smooth handheld shots.

The AF100 takes the same lenses and can be used for shoots with larger crews.

SUPPORT
Benro S6 Video Head and Tripod (currently $300)
Sachtler Ace M Video Head and Tripod (currently $590)

The Benro S6 is about the cheapest tripod/head combo that will properly counter-balance a small DSLR package. The Sachtler Ace M is a low-cost upgrade from the Benro S6, with better performance.

AUDIO
Tascam DR-40 (currently $143 with rebate)
Sennheiser HD 202-II DJ Headphones (currently $35)
Sennheiser MKE 600 Shotgun Mic (currently $330)
Rycote InVision Universal Camera Kit (currently $179)
Rode 10' Boompole (currently $149)

Tascam DR-40 and Sennheiser MKE600 work well together, and produce quite good audio for a low cost setup.

LIGHTING
Aputure Amaran AL-528S LED Video Light Kit with Bag (currently $307)
Lowel Pro-light Two-Light Kit with Case (currently $325)

Aputure LED lights are cheap, daylight balanced, portable, can run for 2+ hours with low cost generic Sony L type batteries, and comes with a case.
Lowel Pro lights are also fairly cheap, produce good tungsten output for a small package, compact, lots of light modifiers are available or can be adapted for this light.
 
First, congrats on the teaching gig! You have the potential to be a huge influence in (some) young people's lives!

Until I saw that you have many EX's, I was going to say get a bunch of used HMC150s, and several used AF100s.
And they could learn the basics on the HMC, then later in the semester/year learn the AF, which you know well.

Don't know your tripod situation, but you know what's out there in your budget, if needed.

But you're set with the EX's- yep, sell the RED, get Lowel lights and and couple of sound kits, and several AF100s, you should be good.

Is editing part of the program, or just production?

Good luck, have fun (and a lot of patience!).

And update us on how it goes!
 
Thanks guys. I'm still organizing the inventory. 4 months of the class having a substitute has resulted in a sort of "lord of the flies" scenario with the gear. I'm still learning what we do and don't have. I'm so used to higher budget gear in LA, it's a bit of a shock to me having to go bargain basement. But, they are HS students, so i'll need to temper my expectations on that end.

The program is pretty open to my interpretation. The previous instructor taught a little bit of everything. The program is supposed to incorporate field and studio production. We have a large 50' green screen stage and live broadcast booth as well as a sound recording studio as well. I've done some preliminary pitching to the school administration about doing a "standing show" where we get the Fashion Design school to design the costumes, and the construction school to design/build the sets. I would have the students pitch, write, block, cast and shoot the show for air on a public television station we're partnered with.

The students all have 20"-27" new iMacs with all of the top software, Adobe creative suite, Cinema 4D, Final Cut Pro Studio. We also have a Pro Tools system in the recording studio. So, our post production end is pretty covered.

I have been brought in mid-year with only a couple months with the current class. So I plan on using them to inventory and triage the gear. During the summer, I plan on reorganizing the curriculum and planning out my classes for the Fall/Spring semester.

Oh, I also found a Black Magic Cinema camera yesterday as well...lol
 
Maybe you could enlist the students in tricking out the DSLR rig. Use one or two to build up as a class as a project that lasts an entire semester or even year. Have them research and debate, learn the reason for upgrades and workarounds while they're 'saving' up for the next part. That would be realistic experience for what they will have to do themselves should they choose to go that route in the future. You already have the Sony's for the major course work.
 
Also keep in mind that stuff is going to get damaged, lost or broken so figure out how that is going to be handled by the video department and the school. I teach at a film workshop, and lavs, lights, XLR cables, even C-stands all get mishandled from time to time. We recently had a TRAM-TR50 mic broken when the subject (a student) just got up from his seat after an interview and let the receiver drop on the floor. We had asked him to hold it, but it's more our fault than his since we should have attached it to his belt. This is a direct but honest reality. High school kids are over-zealous about being able to use expensive equipment (I was when I was in high school) and they're not going to handle it with perfect care. I keep in contact with my film teacher from high school, and he's always sending stuff out for repair or having to use it regardless of it's condition because at the time of the damage, repair is not in the budget.

One of the things my film teacher did a few years ago was apply for a grant and he was able to get two of them within the 10 year span and has used it for new equipment to keep his students in the loop on modern technology but he's also used the money to pay for $500 or $1,000 repairs. He takes good care of the equipment, but it's just him teaching and he can only supervise so many students at a time. I'm not sure how easy it would be to apply for a grant now, but that's a subject that's not going to be discussed. Ha.
 
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this is all just my opinion on how i would run a class... which i have no experience in.

I would want to teach different types of production for kids that will go in different paths:
1. Broadcast news style
2. corporate/promo type videos
3. filmmaking.

1. Broadcast
I would want 3 panasonic GH3's with 14-140mm lenses. These lenses are cheaper and since you would be working with lighting you dont need the faster lenses. Also, to work with a broadcast setting you need to be able to zoom in and out.

I would ask for a room with a green wall, then have the 3 cameras set up news style on tripods with wheels. Then the kids can build a set like a news station and also have a green screen to cut to other types of broadcast.

I would get mac's with FCPX, its a cheaper editing system and is good for multi cam editing so would be great for kids to learn to edit with multiple cameras and in a news style. Creating a weekly news show for the school would be fun and a great learning tool.

Kids would also learn how to light a green screen and work in a bright well lit room.


2. Promo/corporate work

For kids who plan on doing freelance work, or get into an advertising agency and production company they need to learn different skills. Using 3 point light kits, ive had companies who hire me freelance start by asking me to grab a c47 and open a c-stand. This was clearly a test to see how much i knew, so definitely get some c-stands and sandbags so kids can learn more about being a grip, setting up 3 point lighting and audio for a talking head interview.

This is a cheap light kit but has soft boxes so they can learn about diffusion and one with barn doors so they can learn about hard light, using cookies and shaping the light on a background: http://www.amazon.com/Britek-900UHK...F8&qid=1396278385&sr=8-1&keywords=britek+900w

They will also learn indoor lighting with this kit, then you can get some blue gels and have them film in a room with windows and teach the difference of outdoor lighting.

For audio you can get tascam dr-40's, NTG-1 or NTG-2's for great audio and this will also teach kids to sync audio with video in post production.

3. Filmmaking

Here is where you can create short films, music videos and fun projects. You can use the same cheap britek kits, same cameras but then also teach different lenses, getting a canon fd 50mm 1.8 is cheap and would teach depth of field, aperture and how to focus manually. This is also where you could put some money into fun tools such as sliders, shoulder rigs, steadycams and dollies.



A GREAT project for high school kids is sports highlights of all the sports teams. I was a high school wrestling coach for 4 years and our team was conference champs every year. Our best wrestlers all said they joined the team because I created highlight videos they aired as a recruitment tool during the schools news cast right before the season started. Not only will you be making your schools athletics better and getting more kids into sports but they made great end of the year videos and the booster clubs sold the DVD's that made money to go back into the athletic programs.

Filming football games was also great because most tv stations in my area hire entry level kids to film the friday night high school football games, and to already have that experience would help a kid get a job at a tv station right out of school.
 
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Hey guys, thanks for all the great suggestions. As a whole, the board has mandated the class be both studio and field production. We have a 40' green screen sage with 3 JVC HD100 broadcast cameras that can be live switched using a broadcast pix switcher and recorded on a KiPro. I am still learning what we have overall. It seems we have years worth of older cameras lying around even old DV cameras!
 
From time to time i give quest lecture about lighting to grad students at Columbia University. I've learn a few both practical and theoretical things:
1.) modular kits are a waste as the "kids" don't know enough to know what's what so often gear is being taken out from the rental department without necessary bells and whistles (think Lowel lighting kit with no cords!)
2.) too much one or another is not good - too much theory without practice = not good; too much practice without theory = not good. It seems you are very gear-centric which means you might be worrying too much about things of no real consequence for the students as many of them don't even know what the exposure wheel does or what thungtsen preset on the camera does (and trust me it will not be as easy to explaining it to them one)
 
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