The perfect 4K indie package

Brian_Rice

Brian_Rice

Carbonite Member
So assuming that everyone here has a DSLR rig or something between an HV20 and an HMC w/ adapter or something between an HVX and an EX w/ adapter or even one of the meaner leaner boys with interchangeable glass, moving beyond the camera, what is your perfect indie package?

I'm partial, so here's where I think 4K is best spent:

Shot - NTG3 $700
Lavs - (2) Sanken COS11D - $750
Recorder - Fostex FR2LE w/ XLR Y-Split - $500
Tripod - Manfrotto - $300 (I use canon's HFS and HF series cams with JAGPRO)
Crane - ProAm 250 w/ monitor - $900
Lights - Pacific Coast's 3600 standard series - $1,000

I know microphones and recorders are of big debate here.

Staying in budget, what (if anything) would you change?

I think the Fostex being limited to 2 XLR inputs gives some people problems, but for me 2 channels has always been plenty.
 
I wouldnt be buying any lights unless they are Arris, Moles, LTM, Kino or coollights. You are better off saving that 1,000 for rental. I think any non name brand light is a bad investment.
 
I'm with Steve about the lights.

The big question is always "What are you using it for?" I don't know if I even agree with the concept of buying a big filmmaking kit if you plan to do narrative work. You're getting subpar gear in every category. If you want to own something, a good investment is in lenses or audio gear... or a good tripod.

I've seen a lot of people fall into a similar pitfall. They decide they want to start making movies so they invest all of their money into equipment for each department. Now they have no money to put into their film's budget.

As somebody who wants to be a writer/director, I'm still regretting going through my "obsessed with gear" phase. I'm definitely more knowledgeable about technical things now, but I should have spent a lot more time practicing my craft. Again, I have no idea what the OP is getting this kit for. Just my two cents.
 
Echoing the others, skip the lights and rent the good stuff. I'd be wary of off brands like that... do your research, and if you find that they have built-in cooling fans you know that they are nothing but a $1k fire starter.

I'd also skip on the crane. Rent a good one if needed, but don't waste money on something specialized like that when it won't be used 95% of the time. You'll get better mileage, and regular mileage, out of a decent tripod and fluid head. If you need something more for camera movement, consider building your own slider with IGUS parts.

As for the audio... the FR-2LE is a very useful machine, but why the XLR Y cable? Is that to connect one mic to both inputs? There's no need for that: the FR-2LE has a mono recording mode that will send one input to both record channels.
 
C2V -- Because I had to train my sound guy myself (and there's just him), I started long ago having him split between two channels (each at a different level to ensure that I always have useable audio). I also record live in-camera for (visual) post synching.

Drew -- I think for the kind of no-budget indie stuff I do the gear is completely suitable. Obviously I'd rather be shooting on a Red cam rather than some smaller AVCHD canons w/ adapters, but I think the gear listed here (maybe sans the lights) is completely acceptable for ultra-low budget indie stuff. Practicing on craft is all fine and good. But I have more respect for the guy shooting something narrative using an on-board mic and an old SD cam than I do for someone who is just having a theoretical journey. (Not saying that about you, just saying that I think being studious has its place, but in the end it's about getting the story told by any means necessary while giving the audience a decent picture and good audio).

And with regards the lights, I was using old work lights previously (sometimes still do). Because my cams w/ adapters suffer terribly in low-light, I try to do as much day-for-night shooting as I can and usually have to be more liberal with interior lighting than I would be if I was using something with a large sensor like a 5D.

I'm saving up for the new Sony. Once I have that I'll be able to light more creatively and so will probably want a better kit (rental or otherwise). The HF/S(s) will still be good for underwater stuff and maybe some B-cam for daytime exteriors, but my hope is to own the Sony by mid next year.

To the question, though -- I didn't hear anyone say what (if any) gear they would change on a 4K budget besdides the lights. I'm always interested to hear what other people are working with.
 
I agree with the concept of renting something like a crane, which is something you might need for a day or two for special shots, but lights? A good tripod, a good light kit, some good sturdy lenses, and a mic will last through quite a few years of constantly changing cameras and codecs/formats. Unless you are already a master of your craft, and are only doing narrative films anyways, then owning lights is not a bad thing at all. If you are practicing to hone your cinematography skills on a more daily or weekly basis, or shooting a film over a long period of time (weekends, for example), then renting a light kit every time you need to shoot something might end up costing a lot more in the end. Plus, when you own, you get to know your gear much better, and learn how to use it more effectively and efficiently.

I'd say for lighting, if you are only able to spend about $1,000 then at least go for a Lowel light kit. A lot of people talk down against Lowel lights, but I've found them to offer a pretty solid bang for your buck. Also, unless you are careless and smash them around like a wild crazyman, the Lowel lights will stay intact and will be reliable. If you can spend more on lights, and feel the need to buy them, then I say spend more and get something more prestigious and even sturdier. In the long run, an Arri kit or something along those lines will last you longer.

Since you said you are saving up for the new Sony camera (FS100 I would assume), then I say ditch the lav mics, ditch the crane, and use what you save on not buying those to go towards your new camera.
 
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