getting started

[one3rd]

Before I dive in head-long to my first film, I have some techincal questions. Trail and error is well and good, but not when it costs me time and money to fix things that could have been prevented.

1. Digital vs film: Stock is expensive and I've worked with digital before. Are there any major cons to choosing digital?
2. Type of camera: I'm looking at the cannon xl1. Any other suggestions?
3. Sound: I want to plug a mic directly into the camera. Is that doing it right, or do I need to record sound to a seperate source and sync it with footage in post? Speaking of mics, what's a good boom for around $100?
4. Script supervisor and director of photography are two of the most important jobs on the set. Are there any other unsung heroes of the production process?

 

[directorik]

Welcome to indietalk!

Before I dive in head-long to my first film, I have some techincal questions. Trail and error is well and good, but not when it costs me time and money to fix things that could have been prevented.

1. Digital vs film: Stock is expensive and I've worked with digital before. Are there any major cons to choosing digital?

At this stage it's an almost impossible question to answer.
You will find a lot of opinion and some here are excellent
at offering all the technical numbers comparing film to
digital. If you cannot afford film then your only choice is
digital. sure there are cons, but there are many pros, too.

2. Type of camera: I'm looking at the cannon xl1. Any other suggestions?

The xl1 is an old, out of date, SD camera. A fine one, but
there have been huge advancements since it was introduced.
Right here on indietalk we have many discussions about
cameras. Pop over to the Cinematography & Lighting forum
and the Cameras & Lenses forum. You'll get a lot of other
suggestions.

3. Sound: I want to plug a mic directly into the camera. Is that doing it right, or do I need to record sound to a seperate source and sync it with footage in post? Speaking of mics, what's a good boom for around $100?

Plugging the mic directly into the camera is just fine.

Just to be clear the "boom" is a piece of equipment used to
hold the mic. The mic is different than the boom. Pop over
to the Equipment & Gear forum for a lot of microphone
suggestions.

4. Script supervisor and director of photography are two of the most important jobs on the set. Are there any other unsung heroes of the production process?

A good first assistant director is essential to the smooth
running of a set. The sound recordist/boom operator is
just as important to the set as the DP.

 

[Alcove Audio]

3. Sound: I want to plug a mic directly into the camera. Is that doing it right, or do I need to record sound to a seperate source and sync it with footage in post? Speaking of mics, what's a good boom for around $100?

As 'rik said, a boom is an extendable pole used to hold a microphone. And you won't find anything "good" for $100. You may find something that does a (barely) passable job, but you will run up against it's limitations very quickly.

Many of the best directors - including Tarrantino, one of the "gods" of the indie community - hold to the dictum that "Sound is half of the experience." Poor sound, most especially crappy production sound, has ruined many otherwise solid projects. So you ought to think about better production sound gear or retain someone who has it and knows how to use it.

Every dollar/minute you spend on capturing quality production sound will save you ten in audio post.

 

[Cracker Funk]

1. Digital vs film: Stock is expensive and I've worked with digital before. Are there any major cons to choosing digital?

Con -- it's not as good as film
Pro -- you can afford it

2. Type of camera: I'm looking at the cannon xl1. Any other suggestions?

If you're considering the XL1 (which is a sweet camera, if albeit, a little dated), I have to assume budget is an issue for you. For those of us working on a dime, there is simply no better camera than the T2i. No debate allowed. Eats your XL1 as a pre-breakfast snack. It has it's limits and weaknesses, but if you want good results for cheap cheap dollar, look no further.

3. Sound: I want to plug a mic directly into the camera. Is that doing it right, or do I need to record sound to a seperate source and sync it with footage in post? Speaking of mics, what's a good boom for around $100?

Yeah, you can plug a mic directly into your camera, but it's not such a great idea (for the long-run). For one thing, the cameras that are probably in your price-range do not typically have XLR inputs, and that's something you want. At the very least, you could get an XLR adapter. Thing is, though, you can also buy a cheap digital audio recorder for about as much (or less) than the XLR adapter.

For a couple years, all of my shorts were made with cheap mics plugged directly into my camera, via a 1/4" mini-jack. Not the best option, but it did the trick. So, I guess the answer to your question depends on how serious you want to get. A cheap mic plugged into your camera is better than the in-cam mic, no question.

4. Script supervisor and director of photography are two of the most important jobs on the set. Are there any other unsung heroes of the production process?

Script supervisor Shript Shmupermiser! Dude, you're just starting out. Major kudos to you if you are able to snag a freaking script supervisor. You should probably get used to wearing many hats, at the same time.

 

[Zensteve]

Are there any other unsung heroes of the production process?

All should fall to their knees and pay their respects to the unsung heroes known as:

Production Assistants, or PA's.

Often unpaid, never appreciated, and most likely the ones doing the most menial (and back-breaking) tasks that other "named positions" would walk off the set if asked to perform.

Need that pile of dog-poop scooped off the set? Get a PA.

Need someone to yell at, to vent for a bit? Get a PA.

Need 15 sheets of paper photocopied at the local copy-shop? Get a PA... with a car.

Need someone to stand in for 20 minutes under the blazing sun, so the talent can rest? Get a PA.


Remember them, and be thankful for them all... and get the contact info of the really good ones.

 

[Alcove Audio]

Are there any other unsung heroes of the production process?

Experienced boom-op!

 

[learnfilmonline]

Before I dive in head-long to my first film, I have some techincal questions. Trail and error is well and good, but not when it costs me time and money to fix things that could have been prevented.

1. Digital vs film: Stock is expensive and I've worked with digital before. Are there any major cons to choosing digital?
2. Type of camera: I'm looking at the cannon xl1. Any other suggestions?
3. Sound: I want to plug a mic directly into the camera. Is that doing it right, or do I need to record sound to a seperate source and sync it with footage in post? Speaking of mics, what's a good boom for around $100?
4. Script supervisor and director of photography are two of the most important jobs on the set. Are there any other unsung heroes of the production process?

1. Digital vs film: Stock is expensive and I've worked with digital before. Are there any major cons to choosing digital?
Go Digital all the way. Many pros.


2. Type of camera: I'm looking at the cannon xl1. Any other suggestions?
This Camera http://www.dpreview.com/reviews/canoneos5dmarkii/
Reason: The closes look to film on a budget looks awesome.


3. Sound: I want to plug a mic directly into the camera. Is that doing it right, or do I need to record sound to a seperate source and sync it with footage in post? Speaking of mics, what's a good boom for around $100?
Yes thats fine, but do everything possible to get a good sound guy. The right way is to have a mixer with Boom sound guy, and a direct line from mixer into camera.


4. Script supervisor and director of photography are two of the most important jobs on the set. Are there any other unsung heroes of the production process?
Sound guy. Most Indy films fail due to bad sound, and filmmakers only paying attention to video and not sound.

I wish you much luck.

-LearnFilmOnline

 

[learnfilmonline]

Before I dive in head-long to my first film, I have some techincal questions. Trail and error is well and good, but not when it costs me time and money to fix things that could have been prevented.

1. Digital vs film: Stock is expensive and I've worked with digital before. Are there any major cons to choosing digital?
2. Type of camera: I'm looking at the cannon xl1. Any other suggestions?
3. Sound: I want to plug a mic directly into the camera. Is that doing it right, or do I need to record sound to a seperate source and sync it with footage in post? Speaking of mics, what's a good boom for around $100?
4. Script supervisor and director of photography are two of the most important jobs on the set. Are there any other unsung heroes of the production process?

1. Digital vs film: Stock is expensive and I've worked with digital before. Are there any major cons to choosing digital?
Go Digital all the way. Many pros.


2. Type of camera: I'm looking at the cannon xl1. Any other suggestions?
This Camera http://www.dpreview.com/reviews/canoneos5dmarkii/
Reason: The closes look to film on a budget looks awesome.


3. Sound: I want to plug a mic directly into the camera. Is that doing it right, or do I need to record sound to a seperate source and sync it with footage in post? Speaking of mics, what's a good boom for around $100?
Yes thats fine, but do everything possible to get a good sound guy. The right way is to have a mixer with Boom sound guy, and a direct line from mixer into camera.


4. Script supervisor and director of photography are two of the most important jobs on the set. Are there any other unsung heroes of the production process?
Sound guy. Most Indy films fail due to bad sound, and filmmakers only paying attention to video and not sound.

I wish you much luck.

-LearnFilmOnline