How do I make my T2i look pro for cheap?

T

tackyattack

Active member
Is there any way I can make my T2i look pro for less than $100? I want to do this so people don't look at my camera and say, "Your shooting with that little thing?"
Thanks
 
Focus on your reel looking pro as opposed to your rig. People don't care what equipment you use when they're confident you're going to be delivering pro-level material.
 
For less than $100? I dunno, you might find a screw-on matte box.

But if you're not using an attached magnifying loupe, a matte box (personally I'd add a follow focus and rods to that) what kind of people are you shooting for that would even know the difference? I'm sure you can get great footage without those attachments, but do you have clients that are paying at the "i have limited gear" level that still expect to see a big pro rig? And have been on enough sets with big rigs that they see a difference?

Make a great reel, show it to clients, and be clear upfront that you get your look in a specific way with specific gear. If you're getting paid big commercial rate $$, go buy all that stuff, it makes a difference. If you're getting paid peanuts, tell 'em they're paying for a peanuts rig and you'll deliver amazing bang for their buck. Spend your money on stuff that improves your footage.

Seriously - are you killing yourself with BMW or Mercedes payments so people will think you can afford a luxury car? Don't worry what people think unless they're thinking of your footage and your professionalism.

And yeah, there's plexiglas rod setups on eBay and lots of plans on line for cardboard n' duct tape matte boxes, so... knock yerself out! But I'd really ask myself if my tripod head is capable of smooth moves, if I have proper ND and a case that organizes and protects everything, if I have all the focal lengths I need at the f-stops I want for my particular look. And then there's lighting and grip...
 
tackyattack said:
Is there any way I can make my T2i look pro for less than $100? I want to do this so people don't look at my camera and say, "Your shooting with that little thing?"
Thanks
Click to expand...

The most important part is working on your material. Once customers see your work they will respect you. Yeah they might ask if that's the camera you use, but you need to be confident with your self and work. For a $100 you can get a cheap mic to place in the hot shoe + a 3rd party battery grip.
 
People keep saying to work more on your technique and a good reel to show off your talent, but you can't deny the fact that look DO matter. Of course, what you do with the camera is most important, but so is your image. Trust me, most clients don't understand the technological side of these things, so they don't necessarily know what DSLR's can do. Especially if they recognize this "rebel" is what their 14 year old daughter uses to take pictures of her friends. And if they don't think your equipment is adequate, they won't think much of you. How would you feel if someone came to shoot your wedding ceremony with a $200 tiny video camera. Sure, you can have all the technique in the world, but you still won't think much of them, professionally. I've had clients question us shooting with DSLRs, unaware that they were actually able to take video. So just don't disregard the importance of appearance like some people have stated.

That said, I think the best and cheapest way to give a more professional appearance would be a viewfinder. Best case scenario would be to add some rails, or shoulder rig, but that might be a bit out of your budget.
 
I'd also say "just show them some great work you've done", but, if you insist...

my 550D looks a lot more badass with a loupe, a grip, a big rubber hood and a followfocus; you can get the first three without busting your budget
http://cgi.ebay.com/3-CARRY-SPEED-V...igital_Camera_Accessories&hash=item19c2f4ef2c
http://cgi.ebay.com/77mm-3-section-...04630?pt=Lens_Accessories&hash=item5adeb11816
http://cgi.ebay.com/Opteka-Battery-...566?pt=Batteries_Chargers&hash=item45f697812e

(I have only one rubber hood, big enough to work with all my lenses; I attach it to each of them using a step-up ring)
 
tackyattack said:
Is there any way I can make my T2i look pro for less than $100? I want to do this so people don't look at my camera and say, "Your shooting with that little thing?"
Thanks
Click to expand...

Try building some of your own rigs if your budget is that low. A hand carried steadycam rig and a jib arm will ad a lot to your shooting capabilities and not just the way the camera looks. People aren't that naive, they will still know it's a Rebel and if they ask you have to be honest anyway, they might have a 5D at home. Show them what you can do with it, they are buying your innovation and talent not the camera.

http://www.rodeoroughstock.com/barb...steadicam-camera-stabilizer-that-really-works

http://www.diylife.com/2007/09/04/film-school-rigs-and-mounts/

Never the less, a view screen loupe is essential as well as a a decent lens hood and they also look professional, so that's a good place to start what ever the camera.
 
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I must have missed the offending posts.

All the answers I saw are spot on. Sure you want to look professional (With exceptions I'll get to) but looking professional isn't necessarily having the most tricked out rig.
It's like any profession. It's workable equipment and working with an air of authority and comfort with what you are using.
Most of all, it's the quality of the work you produce, that will determine the amount of business you get, and what you can charge for that work.

You'll run across a lot of folks at events with a race quality rig, a snotty attitude and zero ability to produce.

Buy things that work despite what they look like.

Now the exceptions....Working in venues that throw pro's out or where pro's might get shot or with people who will talk to colorful people with a camera, but not a professional. Much better to look like a tourist.
 
A little lighthearted (but true) story... last year I was shooting footage that would eventually be used on a large screen during a play in a professional theatre. On the day of a long-planned shoot with a busy professional actress our XH A1 broke, and a backup failed to arrive. Time was very limited and rescheduling would be complicated. All I had with me was a $100 Powershot, that fortunately had some manual controls. Although it sounded crazy, we decided to go ahead. The Powershot looked ridiculous atop our Manfrotto, and I was sure that our actress would first look at our equipment, then at us and.... I started apologizing and explaining, to which she laughed "Oh, I didn't really notice". We shot the footage (a lengthy extreme closeup), and I kept my fingers crossed. I later cut in the Powershot footage with the HD footage, and was amazed at the results. Final output was rendered to DVD and used in the project. No-one has ever guessed as to the source of the footage shot that day... and I will always remember the actress calming our nerves...

BTW, I acquired a 550D precisely for its small size and unassuming appearance - invaluable in certain circumstances.
 
All great recommendations, but a monitor is also a great early choice. Not only will it let people see that your little camera really does shoot great video, but it will also help you frame shots better than that tiny LCD.

A matte box is the LAST thing you buy. You can find affordable screw on filters and lens hoods that will be good enough for now.
 
While life4evas post was a ***** harsh, it also contained a couple good points. We're all adults here...do we really need the mods to act like kindergarten teachers and give people time outs for hurting someone else's feelings? If you're that thin-skinned I suggest never working on set, the AD will not give that surly grip that yelled at you a time-out.

But I digress. Ren, you used an example of a wedding videographer showing up with a small camera to shoot a wedding and freaking clients out. First, what bride and groom would hire a videographer without first seeing a reel? If they hired you, they obviously liked your reel (unless you're really cheap and they're really desperate? in that case beggars can't be choosers.) This is why wedding videographers have past work on their website as opposed to an equipment list and photos of all their gear. Since the client has seen your work and hired you based on that, if they have any problem with your gear just assure them it's the same stuff you shot all of your reel pieces on.

My go-to for putting clients at ease with the small cameras is likening them to cell phone technology. As we've seen, as the technology evolves things get smaller, so I equate big clunky cameras with old Brick-style cell phones and the new DSLRs with something like an iPhone.
 
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