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No problem dude.

So first off I just want to go against your thought on only using an iPhone until you can get a professional camera. I really do think that you need the DSLR step in between the iPhone and the professional camera for many factors. Even though the app that you are using is very impressive, it still cannot match a DSLR. You even said it yourself, the camera sensor is way too small to use in anything but exceptional light. Secondly being able to tell the story not just the angle you have the camera, but in the lens choice is something that is awesome to do. With a single change in a lens you can make someone who is in an ally look like they are claustrophobic and trapped, to someone being alone in a large amount of space. So using lenses are a huge help in telling the story you want and being able to know that before using a professional camera is huge. I also want to point out one of the big and main differences why someone would want a professional cinematic camera. One of the main reasons is to have the capability to shoot in RAW which allows for awesome post production. I've used RAW many times before and it is awesome to adjust almost every aspect of the shot. Here is the thing though, you almost really don't need that unless you are really going to push the camera in post, or if you are doing a movie. Even without RAW a DSLR or mirrorless camera can achieve professional looking video without breaking the bank. Here a great video on professionals comparing 8bit vs 10bit which is essentially the difference between cinema cameras and mirrorless ( https://www.youtube.com/watch?v=AekKwgvS5K0 ). This is a very interesting video and really shows how good mirrorless cameras are, and the small gap between the two. I know it's fun to say that you filmed a whole film on an iPhone. I've also used an iPhone and android phones to film really good looking video, but I knew what it can and can't do because I had used dslr and professional cameras. Without the knowledge I had there would've been wild problems that I couldn't fix in post, and even with all of my knowledge I had to change how I did things to get everything right. It was a great experience, but there is a time and place for everything.

Okay not that is out of the way I'll tackle the audio questions you had. So when I said that you can eliminate background noise while recording it wasn't necessarily in a software, rather in what you are doing while filming. The number one thing that you need to do is get the mic as close to the actor as possible. By doing this it eliminates most factors so you can have more flexibility in post. Secondly it is a good idea to have someone dedicated to being the audio engineer. Having to do both is exhausting and results in lukewarm audio and video. Third you need to get an app or some external device that allows for adjusting the gain. There should be multiple apps that can do this, however I would recommend a pre-amp. Here is a link to a great pre-amp https://www.amazon.com/dp/B01LBS52YI/ref=psdc_11974581_t3_B007534LFK . It is a great deal for what it is, but it is still pretty pricey if you don't have much money or much income at all. This is a great tool because it will allow for any audio recorder, phone, or camera to accept xlr, quater inch, and normal aux connections and even providing two. You can also adjust the volume it is putting out so you can more easily adjust on the fly. Getting the right levels is essential for getting good audio in post. The next thing you can do is have some portable sound proofing. There are audio blankets that do a great job, but they are $60 for one. Not to say it isn't worth it, but it's a bit much if it's between getting that and a new mic. So instead I recommend getting a moving blanket. It isn't perfect, but you can get a huge amount of them for cheap and they do almost as good as the audio blanket. The way can use this is to cover up whatever is making the noise if you can. If you can't you can make a wall out of the blankets with light stands, or pretty much whatever you can attach them to. This will not only reduce echos from the actor, but it will also greatly reduce the amount of ambient noise that the mic is picking up. Seriously pick up some moving blankets, they are a great tool not just for audio, but you can use them to block out light, and actually move stuff. They are a really awesome tool. So by doing all of this it should reduce the amount of ambient noise that the mic picks up. Also for good shotgun mics, I am not a great resource for this but I do know a few good mics. Here are two that I know are good and that others say good things about. https://www.amazon.com/Professional-Advanced-Broadcast-Microphone-accessories/dp/B00N39J0LU/ref=sr_1_4?s=musical-instruments&ie=UTF8&qid=1503160247&sr=1-4&keywords=shotgun+mic https://www.amazon.com/Audio-Technica-ATR-6550-Condenser-Shotgun-Microphone/dp/B002GYPS3M/ref=sr_1_5?s=musical-instruments&ie=UTF8&qid=1503160247&sr=1-5&keywords=shotgun+mic . If you want to know more there are a large amount of articles on good mics for cheap.

Next I just want to quickly mention that you should invest in some lights. No matter what it is a good idea to have them. Here is a link to a great budget light, https://www.amazon.com/Dimmable-Digital-Camcorder-Panasonic-Samsung/dp/B004TJ6JH6/ref=sr_1_1?ie=UTF8&qid=1503160499&sr=8-1&keywords=neewer+light . It isn't the most exiting thing to buy, but it is well worth your money.

For the acting questions, it is hard to put to words what I experience. It's more of an instinct, and is different in every situation . However I know I would not be happy with that answer, so here is a link to an article that I think has some really good points. http://www.masteringfilm.com/tips-for-directing-actors/ . This isn't the guide lines for what you can do, but this is just a starting point for what you can do to direct actors better. There are many articles out there so pick and choose what you want. My only piece of advice that I could find words for is this, make your actors not act. You want them to be the character. So a good way to get this to happen is to have them write a back story for the character, it won't be incorporated in the film, but it will help them shape their decisions on how they act. It is really a great way to have the actor connect with the character. Also just tell the actor what they are doing. Don't be a dick about it, but let them know so they can change it. Don't be vague by saying "do that but happier" because no one really gets that. Instead say something like "Jim while you are saying that line could you have a bit of a smile and have a bit more hop in your step" something like that. That might've not been the best example, but you hopefully get the idea.

Okay I hope that answered all of your questions. Let me know if you have more.

Hey, I'll try and answer as best I can, but others may have better or more accurate descriptions than me.

1. Many people will argue about this one, and I don't think there is really a right and wrong answer. You can make a great looking movie on an Iphone if you know what you are doing.
   
   But as for what makes a camera better? I would say control. The more functions you can control on a camera, the better. This is why DSLR filmmaking is so popular currently, because they have access to functions that many cameras don't have. Focus, Aperture, White Balance, Lens choices, etc. Being able to access all of these gives you more options as a filmmaker, which is what we all want, creative freedom, we all hate when we are limited by technology.
   
   Now many people talk about shooting Film vs Digital, or whether or not you are recording in RAW format for digital. A lot of this has to do with preference vs quality of camera.
   
   So I would say that a camera that is easy to control is the best. Hopefully I mostly answered that, if you want a more specific answer, just let me know and I'll try my best, otherwise hopefully someone else jumps back in here and describes it better.
   
   
2. This one is again up for debate. Here is what I think would be best. Get a camera first. Like many independent filmmakers, a DSLR might be the best option, I found a camera from Panasonic called the AG AF-100 that to me has been an amazing camera, and a few steps above the DSLR without costing that much more. But Canon and it's DSLR lineup is great! Grab a couple decent lenses with that too.
   
   I would recommend a small light kit, you can spend as much as you want on film lights, but don't feel ashamed to buy a few lights from Lowes or Home Depot. Lighting is a very important piece to making movies. I would also look into getting some reflectors, there are some really cheap ones on Amazon. I have found these to be helpful when shooting outdoors, since lower end lights are almost unnoticeable in the sun.
   
   Here is the one that many early filmmakers ignore, Audio. Grab a nice microphone and get some good sound with your video. The Rode NTG 2 is a pretty good mike. It's cheaper while still getting good sound. The ME 66 is a bit more expensive, but it's a hotter mike and gets better sound. Both are really good options. To go with your mike, if you have a little extra spending money, I would completely advise getting a Blimp. This Rode Blimp is great! If you want to shoot outdoors in the wind at all, this is the best option, otherwise you may have to re-record all the voice over in post.
   
   ~
   
   This post is getting a little long here, so I'll throw a summary at the end with a couple more items.
   
   Camera: Get a Camera, Lenses, Case, Tripod.
   
   Lighting: Get a couple Lamps, Reflectors, Filters, Light Stands.
   
   Audio: Get a Microphone, Boom, Blimp, XLR Cable, Recording Device, Headphones.
   
   There is always more, but these would be a good starting point. Not everything I recommended is needed to get started though.

I often see questions like “How do I become a screenwriter?” or "How can I write a screenplay?"

So here’s an answer you can read in five minutes or less.

Read at least two screenwriting “how-to” books

For example, you could try:

• How to Write a Movie in 21 Days
  
• Screenplay (Syd Field)
  
• Story (McKee)
  
• Writing for Emotional Impact
  
• Save the Cat (series)
  
• The Screenwriter’s Bible
  
• My Story Can Beat up Your Story
  
  I think it’s a good idea to read more than one book because you don’t want to get the idea that there’s only one right way to write a screenplay. Different authors have different approaches that you may find more or less useful.
  
  TAKE NOTES ON WHAT YOU LEARN.
  
  

  Read at least five professional scripts
  

  
  You can often find them by googling the name of the movie along with “PDF.”
  
  You can also try Simply Scripts and The Internet Movie Script Database (IMSDb).
  
  Your reading list should include scripts for movies that have been made in the past five years, so you can see what styles are current.
  
  TAKE NOTES ON WHAT YOU LEARN.
  
  One thing you should notice is that professional scripts have certain things in common. For example, they almost all have sluglines that look something like this:
  
  EXT. RAIN FOREST – DAY
  
  Some writers put sluglines in bold (which is a current fashion), and some don’t.
  
  You should also notice that other things are different. For example, some writers use CAPS for objects and sounds a lot more than other writers do. Some writers write long, detailed descriptions of locations; others don’t.
  
  One reason for this exercise is to get a sense of what a professional script looks like – what’s “standard,” and what’s more a matter of individual taste/style.
  
  Another reason to read a lot of scripts (especially award-winning ones) is to get a feel for what “good” looks like.
  
  Think about how these pro scripts follow (or not) the “rules” in the books you’ve read.
  
  

  Follow along in the script as you’re watching the movie
  

  
  Notice how words on a page translate into sights and sounds on the screen.
  
  Notice how much detail is written out by the screenwriter, and how much is left to others (like the costume designer, set designer, or fight choreographer).
  
  

  Come up with a screenplay idea/story
  

  
  A good source for help with developing commercial story ideas is Selling Your Story in 60 Seconds.
  
  Or read this blog: https://lauridonahue.com/fantastic-ideas-and-where-to-find-them-stps-5/
  
  It can be helpful to put your idea into logline form. One basic model for loglines is:
  
  >[Type of person or group] must [do or overcome something] in order to [achieve some goal].
  
  You can also add details about where and when the story takes place, if relevant.
  
  For example:
  
  >A long time ago in a galaxy far, far away, a restless farm-boy must rescue a princess and learn to use his supernatural powers in order to defeat an evil empire.
  
  

  Create a beat-sheet
  

  
  A beat-sheet is a short (1-2 page) outline of what happens in your script.
  
  For example, you can use the famous/infamous Blake Snyder “Save the Cat” Beat Sheet.
  
  The books you’ve read may have other models for this.
  
  Some people don’t like outlining. They just like to jump right into the story and start writing. How you work is up to you. But you may find that having an outline will let you know if you’ve got enough story (or too much), keep you on track, and save you from wasting time.
  
  

  Write a treatment or a scriptment
  

  
  A treatment or scriptment is a longer kind of outline.
  
  Again, you may prefer just to dive in. It’s up to you.
  
  

  Try to write a screenplay
  

  
  It’s a good idea to get script formatting software, like Celtx or Highland or Final Draft. If you try to write a script in Word or another standard word processing program, you may drive yourself nuts dealing with format issues, and the end result may not look professional.
  
  Or, just can write your first draft in a notebook, and do your second draft using formatting software. (I decided I wasn’t going to spend money on Final Draft until I proved to myself I could finish a first draft by hand.)
  
  If you finish, congratulations. You’re now a screenwriter. Most wannabes never make it to that point.
  
  However, your script probably isn’t very good. Most first scripts are awful.
  
  What if you want to be a GOOD screenwriter?
  
  Then you’ve got a lot more work ahead of you.
  
  

  Put the script aside
  

  
  Don’t work on it for at least a week. You want to be able to see it with fresh eyes.
  
  Don’t show it to anyone yet, however much you want people to tell you how awesome it is.
  
  This would be a good time to start working on your next script.
  
  

  Rewrite
  

  
  Look back at your notes from the screenwriting books and scripts you read. Think about what makes a script good.
  
  Compare your script to the professional scripts, in terms of format, structure, dialogue, pacing, description, action, etc.
  
  Re-read the chapters on revisions in the books you read.
  
  Read a book like Making a Good Script Great and apply what it suggests.
  
  Rewrite again and again and again until your script is as good as you think you can make it.
  
  

  Get feedback
  

  
  Do NOT get feedback on your first draft. Get feedback on your BEST draft.
  
  So where do you get feedback?
  
  

• You could try Zoetrope.com for free (swapped) peer feedback or pay a screenwriting consultant (like me, ScriptGal, or Screenplay Mechanic, or check Sites, Services, Software, & Supplies) or put your script on The Black List.
  
• Some screenwriting contests, like the Nicholl and Austin, also offer feedback – but you may have to wait quite a few months to get it.
  
• You could take a screenwriting class – in person or online – and get feedback from your teacher and classmates.
  
• You could form or join a screenwriting feedback co-up and swap notes with fellow writers.
  
  Whatever you do, don’t be a douche about the feedback you get. Accept it with THANKS and graciously, even if you think the reader is an idiot for failing to recognize your genius.
  
  And before you ask anyone for free feedback, read this – and don’t be that guy.
  
  

  Rewrite again and again and again
  

  
  Again, in between rewrites and while you’re waiting for feedback, put your script aside and work on more scripts.
  
  You could experiment with different formats (feature, TV, short, webisode, etc.), genres, and styles. Discover where your strengths and interests lie.
  
  

  Get more feedback; revise; repeat
  

  
  Repeat as needed until people who know what they’re talking about (not your buddies, not your mom) say it’s good, and/or you start placing in contests like the Nicholl and Austin and/or getting 8s and up on The Black List.
  
  Keep in mind that it may take years, and many drafts of many scripts, before you get to this point… if you ever do. (Most people don’t.)
  
  If you do make it that far – congratulations again!  You’re now a pretty good screenwriter.
  
  
  (If you like this, please subscribe to my blog: https://lauridonahue.com/how-to-become-a-screenwriter-in-five-minutes-or-less-stps-4/)
  
  
  
  
  
  
  
  
  
  Edit: this isn't mine it's Seshat_the_Scribe but it should help

I recently picked up almost everything on this list so I can give you an honest opinion and I'm a vfx artist trying to get out there and shoot my own content.

The fisheye....we never use it. We shot a prom and that was the only time we used it, and that was for b-roll because the kids loved it.

Definitely pick up the Sigma 30mm f/1.4. It's such a great lens! I almost use if for everything I do, but it's also good to have a wide angle lens. I currently use one of my buddy's which is a Canon 17mm-85mm.

Nodal Ninja I haven't seen before, but looks great.

Video tripod is good, I use a Manfrotto 502 but it's way more expensive, so this looks like a decent alternative. Also, the quick release plates are awesome. You'll eventually want to pick up tonnes of these. I used 2 yesterday to put on both the bottom of my new slider, as well as the top. I have one on my cage as well.

You can probably do without the Shoulder Rig for now. You may consider using the Kamerar Tank 2 cage with rail system to hook up the Kamerar Follow Focus. I found that once I got my Tank, I just disassembled the shoulder rig and never used it since. The Glidecam is something that I've been considering as my next purchase. Check out my thread asking about the glidecam.

Definitely grab the NTG-2 and possibly a Zoom H4N. The sound quality is fantastic. You need an XLR cable, windshield, boompole, and a shock mount.

Kamerar's Follow Focus is solid. It gets a little cramped using a smaller lens, the follow focus, and a matte box though. You have to tinker with teeth to learn how you need to set it up properly so that the teeth don't slip.

The Matte Box, while nice to look at, hasn't proven it's worth to me. I shoot with the Sigma 30mm f/1.4 and because the lens is so short, the matte box does very little to block out light. I just got the new "donut" in the mail yesterday so maybe that will help, but I wouldn't advise getting it when you can spend that money on something else.

And the backpack is pretty awesome, definitely worth picking up. If you travel to shoots I would recommend the Pelican 1510 to store all your stuff in.

I would also recommend grabbing a couple LED lights and the batteries and charger. These things are a life saver. I'll be picking up a third this week.

I hope this helped you out a bit. Like I said I was in a similar situation to you a couple months ago, but everything's coming together now. If you have any more specific questions about any of this, let me know. Take care.

All of them, really. Absolutely no harm will come from reading all the books out there (for a while). At worst, you'll learn ways of doing things that DON'T work for you but it's still good knowledge to have.

After a while, eventually, you'll start noticing though that all the new books out are just copying and rephrasing the books that came before them. That's when it's time to stop.

Some of the popular ones are syd field's book, Robert McKee's book, Joseph Campbell's book (and imo a book called The Writer's Journey by Christopher something that analyzes Campbell's book and puts it into modern story telling terms). That'll get you started. I have varying opinions of each of those books and none of them should be adhered to by law, but they ALL contain concepts and theories that, as a professional writer, you'd do well to expose yourself to. If for no other reason than that you can be aware of the concepts when others talk about them.

Tangentially, Stephen king's On Writing and William Goldman's books are great reads but don't necessarily apply to the craft of screen writing directly. Also useful to read any interviews or collections of interviews with screen writers. You may also want to check out some podcasts, Jeff goldsmith's interviews with screen writers is great and I have no idea if it's still available or even what it's called but I used to listen to one titled something like Sam and Jim Go to Hollywood (I am positive I got those names wrong) about two guys who up and quit their careers as restaurant owners and moved to Hollywood to become writers and share what they've learned. Ted Rossio and Terry Elliot also run, or ran, a website with forums (which are eh) and and a collection of articles about screen writing which are fantastic.

This was all stuff I was into years ago, so I don't know how much of it is still relevant, because like I said when you get to a certain point you've kind of read everything out there and it all starts repeating itself, and you realize all that's left is to read screenplays and write a ton.

Good luck.

e: back on my computer, here are some links:

Syd Field's Sreenplay (he has several books out, that's the one you should start with as it lays the foundation for basic story structure of nearly all modern movies. IMO, it's also the best one out there because he never says these are rules in any way, he simply analyzed a bunch of movies and lays out his findings for you to do with as you wish)

Robert McKee's Story

Joseph Campbell's Hero with a Thousand Faces

and Christopher Vogler's The Writer's Journey

Stephen King's On Writing which describes his writing style and, while I don't prefer it, is a very interesting style similar to the Cohen Brothers

William Goldman's Adventures in the Screen Trade and Which Lie did I Tell? two accounts of William Goldman's experiences as one of the top writers in Hollywood, and dealing with the business. Writer of The Princess Bride, Butch Cassidy & The Sundance Kid, and many others. Dude's a legend.

Jeff Goldsmith's Q&A podcast he also did the same style podcast while working for a screenwriting magazine, though the name escapes me right now

Sam and Jim Go to Hollywood holy shit I got their names right I can't believe it. Seems to be dead for a few years but it looks like their podcasts are still up.

Wordplay, Ted & Terry's website read every single one of those articles

e: BONUS! Not that useful as an educational resource, but it's fun to read Ken Levine's blog, writer on MASH and Cheers Ken's blog (no, not the guy who made BioShock)

Well, If filmmaking and video is your goal with these cameras I wouldn't recommend either.

If you're just starting and serious about video production here's a pretty effective starter kit that's just a tad over your $400 budget.

[Camera: Canon Vixia HF R400] (http://www.amazon.com/Canon-VIXIA-R400-Advanced-Camcorder/dp/B00AWZFJ22/ref=sr_1_1?ie=UTF8&qid=1395594961&sr=8-1&keywords=canon+vixia+hf+r400)
This is a decent starter camera. It's got a decent range of focal lengths, optical stabilization, microphone input, progressive frame-rates and most of all designed with video in mind. You'll need a SD Card

I noticed the cameras you picked resembles DSLRs but keep in mind that these in particular are not and with fixed lenses which defeats the purpose of having DSLR for video. Trust me, learn how to be effective with a camcorder first! Then, when your skill requires more artistic control you can upgrade.

Audio:
[Microphone:] (http://www.amazon.com/Audio-Technica-ATR-6550-Condenser-Shotgun-Microphone/dp/B002GYPS3M/ref=sr_1_1?ie=UTF8&qid=1395595673&sr=8-1&keywords=shotgun+microphone)
Having clean audio is probably the most important part filmmaking! The key is to get the mic as close to your subject as possible and away from your camera. You'll need a cable. If you need to mount it to your camera use this [bracket.] (http://www.amazon.com/Heavy-Photography-Bracket-Standard-Mounts/dp/B005Z4ROIW/ref=sr_1_1?ie=UTF8&qid=1395595189&sr=8-1&keywords=flash+bracket) This bracket will also help keep the camera stabilized when you go handheld.

Keep in mind this won't deliver perfect audio but it will be a MASSIVE improvement to the on board microphone and learning how to record with decent audio in mind is your first step into becoming a pro.

[Lighting:] (http://www.amazon.com/Bayco-SL-300-Clamp-Aluminum-Reflector/dp/B007RKKEHA/ref=sr_1_17?ie=UTF8&qid=1395595354&sr=8-17&keywords=can+lights)
Lighting is EXTREMELY important. A couple of these can lights will not only help with your image quality but put in you in the right direction for learning how to properly light your scene. You could start with daylight equivalent CFL bulbs.

[Tripod:] (http://www.amazon.com/AmazonBasics-60-Inch-Lightweight-Tripod-Bag/dp/B005KP473Q/ref=sr_1_3?ie=UTF8&qid=1395595413&sr=8-3&keywords=tripod)
You NEED a tripod. This one is cheap and cheerful. Looping the ends of a couple rubber brands around the pan handle and the other end around your finger will help deliver some smoother pans!

Total: $425/£258

Some things to keep in mind:

• These are far from pro tools but if all used in conjuncture you can deliver a much more effective production than just merely using a camera on a tripod.
  
  
• Build a crew of friends. Although you can "one man band" it I don't recommend it because one of coolest things about film is that it's almost always a group effort towards an artistic goal!
  
  
• Most importantly, the equipment are just tools. They don't tell the story; you do! Your film/video is only as powerful as the story you want to tell!
  
  Best of luck to you!
  
  edit: formatting
  

There are a lot of great books on film out there. Don't listen to other possible saying watch YouTube or wrote your own screenplay. Well, do those things too, but learn some wisdom from some of the masters while you're at it.

You are going to want to read the following:

Hitchcock by Truffaut (http://www.amazon.com/gp/aw/d/0671604295). One of the greatest directors of all time, interviewed by another of the greatest.

In the Blink of an Eye by Walter Murch (http://www.amazon.com/gp/aw/d/1879505622/ref=aw_d_detail?pd=1), one of the greatest editors ever. A pretty great director too.

On Directing Film by David Mamet (http://www.amazon.com/gp/aw/d/0140127224). A great book on directing by one of the great writer/directors.

Rebel Without a Crew by Robert Rodriguez (http://www.amazon.com/gp/aw/d/0452271878). He wrote this after El Mariachi, before he went on to big budgets. It's one of the most inspiring books you'll ever read-- you'll want to make a film tomorrow. Basically, how to make a movie wit nothing but enthusiasm.

Congratulations on the start of a solid business. You're cobbling together a nice little kit - but you have several gaps. Here is what I would recommend [Referral Links]:

Filling the gaps

The first challenge you have is that you have gear you can't use for lack of something simple, such as a [£97.00 Commlite CM-EF-MFT adapter] (http://www.amazon.co.uk/gp/product/B011I2WWQ8/ref=as_li_tl?ie=UTF8&camp=1634&creative=19450&creativeASIN=B011I2WWQ8&linkCode=as2&tag=hybrcamerevo-21) for the Tamron and a [£7.69 52mm-77mm step up ring] (http://www.amazon.co.uk/gp/product/B00NF8M2IW/ref=as_li_tl?ie=UTF8&camp=1634&creative=19450&creativeASIN=B00NF8M2IW&linkCode=as2&tag=hybrcamerevo-21) so you can use your filters.

You should fix that as soon as you can.

Audio

At the same time, you'll need an audio solution once you lose your mic. I recommend you go ahead and get the [£149 NTG-2] (http://www.amazon.co.uk/gp/product/B00093ESSI/ref=as_li_tl?ie=UTF8&camp=1634&creative=19450&creativeASIN=B00093ESSI&linkCode=as2&tag=hybrcamerevo-21), plus a [£9 hot shoe shock mount] (http://www.amazon.co.uk/gp/product/B00KXQIV7K/ref=as_li_tl?ie=UTF8&camp=1634&creative=19450&creativeASIN=B00KXQIV7K&linkCode=as2&tag=hybrcamerevo-21) and a [£22.91 XLR to 3.5mm transformer /adapter] (http://www.amazon.co.uk/gp/product/B00FC4YR58/ref=as_li_tl?ie=UTF8&camp=1634&creative=19450&creativeASIN=B00FC4YR58&linkCode=as2&tag=hybrcamerevo-21) to plug the pro mic directly into the camera. This is what I do with my GH4 and it works a treat (as seen [here] (https://photos.google.com/share/AF1QipOZnA1JTDduH1DaRD2iYcGzUJuKskXqWk36rZUxuHm8JbPlEJpAu7pGZ50qEeieTA/photo/AF1QipNCuNMEjDHw1O5-8J-5gA2lTXJ60zqUTsbpxGg3?key=YW9yd0V0VndpOFVLQXBwemdwNk9rRWhqemlfUHBn)).

You can get a recorder later, but you should avoid the H4n. Instead of the H4n, I recommend the [£140.40 Tascam DR-60D II] (http://www.amazon.co.uk/gp/product/B00O0YCUNC/ref=as_li_tl?ie=UTF8&camp=1634&creative=19450&creativeASIN=B00O0YCUNC&linkCode=as2&tag=hybrcamerevo-21) and a [£1.58 cable] (http://www.amazon.co.uk/gp/product/B00O29M4FE/ref=as_li_tl?ie=UTF8&camp=1634&creative=19450&creativeASIN=B00O29M4FE&linkCode=as2&tag=hybrcamerevo-21) to connect it to your camera.

If you get the NTG-2, and start out by mounting it on top of the camera, you'll also need a [£10.05 cable] (http://www.amazon.co.uk/gp/product/B00KWIM0K8/ref=as_li_tl?ie=UTF8&camp=1634&creative=19450&creativeASIN=B00KWIM0K8&linkCode=as2&tag=hybrcamerevo-21) to connect it to the recorder.

With 2 locking XLR inputs, this recorder also has best form factor in its class. You can mount it below your camera (as seen [here] (https://photos.google.com/share/AF1QipOwlV2VLVFNWyzNeFzAkQSiG4_LXclYs-mLWuBLnJbhNmMvRKNyTSvKUL54AKLbIA/photo/AF1QipML1s8TVA3Doq2H_oOuTJQdtnPlesJJHZCOnWXw?key=cHlwV1VONzVRZThGT1VybVJYUThBQ0M0eC1zTnlB) with the older DR-60D and my GH2) rather than rigging it up on top of the camera with a cage or the hot shoe. (which is what you would have to do with the H4n).

Tascam also advertises the DR-60D II's 20-40,000Hz frequency response (at 96kHz) and 92dB+ signal to noise ratio on its [specs page] (http://tascam.com/product/dr-60dmkii/specifications/).

These numbers are not published for the H4n either on its [specs page] (https://www.zoom-na.com/products/field-video-recording/field-recording/zoom-h4n-handy-recorder#specs) or in the "Specifications" on page 147 of the [Operation Manual] (https://www.zoom.co.jp/sites/default/files/products/downloads/pdfs/E_H4nSP_0.pdf), as far as I can tell.

Even though I own the Zoom H1, I can't really recommend Zoom recorders until they start publishing their frequency response and signal to noise numbers.

Support/Tripod

For support I recommend the [£102.03 Ravelli AVTP Professional] (http://www.amazon.co.uk/gp/product/B00139W0XM/ref=as_li_tl?ie=UTF8&camp=1634&creative=19450&creativeASIN=B00139W0XM&linkCode=as2&tag=hybrcamerevo-21) with fluid head, dual handles and a 75mm bowl for leveling the camera without adjusting the legs. I own this tripod and it is a very good value for the money.

That still leaves lights and a few other essentials, but this should be enough to get you started.

Hope this is helpful, good luck in building your business and Happy New Year!

It is a tough industry in many ways, and built around some very specific cities. One decision you should make is what exactly you want to do in film. If you want to be an artist and create your own films, you don't necessarily need to go to film school or even work your way up in the industry. There is lots of cheap gear available. Chances are you have more than enough film making gear right now in your phone and PC, more than you could have dreamed of affording 20+ years ago- when film was film.

So if you want to work in the industry, it will mean 'paying your dues' and might mean never getting to make a film on your own - schools, training programs, etc... are a good idea. You might be poor for awhile, you might have a job so busy and high pressure that at the end of the day more film work (even on your own dream projects) might be the last thing you are interested in doing. Another approach is to come up with a solid day job outside of the industry so that you can pursue your own creative pursuits on the side until such time as they pay off. If you have to count on film making to pay the bills, you would be very fortunate to direct corporate videos and cooking shows and stuff you might not really feel. You will be so close to your dream, but so far away at the same time and that can be frustrating - depending on your goals. If you want to make films on your own terms, you can and should start right away. Don't feel bad if the first 5 or 10 of them are terrible. You are working the bugs out. Read Lumet, a bit of Mamet, and some Rodriguez. Watch a lot of Making of docs on Youtube.

​

Robert Rodriguez wrote El Mariachi with a bit of a brilliant approach. He listed all the interesting ('expensive') things he had access to through his friends (a pit bull, a bus) and incorporated those in his script so it looked a little more big budget. If you write a helicopter landing on a bridge, you would have to pay for it. If your grandma has access to a tennis court and your uncle has a dirt bike - write that instead, and you could pull it off for free. Don't get caught up buying gear, use what you have. You don't need to use lacking gear as an excuse for not making something, and don't need to use buying gear as a replacement for being creative. I have seen that a lot in film, photography, and music. You could hypothetically make a great film for free as a flip book on a pad of paper, and if you do you could show that to people that would help pay for more gear if you need it. Anyway, ramble ramble - free advice is usually worth what you pay for it. Good luck!

Okay.

1 - Take a breath.

You are overwhelmed and rightfully so, shooting is not easy and weddings are not easy either.

If you are doing interviews you need a mic. DO NOT USE ON CAMERA AUDIO! YOu can rent a rode videomic maybe from a local camera store, or buy this it is cheap, if your camera take audio in it will work. Keep in mind it would be Mono so in post you would need to make it stereo by duplicating the audio and sending it to the opposite side by panning it over or using a effect. Audio is very important it will be hard for you not having done this before.

As for video goes always have a camera rolling as a safety net. Sometimes when I do handheld for a concert or live event. I stick a go-pro on top of my camera in wide mode as a safety net incase something happens and I miss something.

I am not going to lie this will be very hard for you to do and you will be stressed out, a lot. Your friends will be better off hiring someone who has experience in this, but if they are content on having you do it I will walk you through.

Get lot of footage, if you don't ind editing a lot, then shoot a lot. Stick a camera up on a tripod during the ceremony frame it nicely hit record. Then go shoot something else with a different camera. That camera on sticks would be your safety net. Zoom in to get shots of the ring and face. Weddings are very emotional so the face, eyes and mouth are key to capture.

You said you don't know how to use the reflector. It has two sides as your know a silver and a gold. This is used to get light on people in the sun (or even from a light if you need to). You bounce the light from the sun into the subject. It is used a lot on sunny days to counter shadows the sun would cause on people's faces. The reflector would be bounce light from the sun onto the subject. You have to hold it or have a friend hold it. Keep in mind the sun moves so you constantly have to adjust your angle of reflection.

• There are other editing programs that are free. Search around I don't know off the top of my head, but I have heard of some.
  
• Gear wise, as I said a mic of some sort, you will need better audio then your cameras can record.
  
• the ring exchange depends on the layout of the wedding, if you are the only shooter I would do the wide from your safety camera and get a close up with another camera. Remember to get the smiles, the ring is important, but the emotions are more important.
  *Movie templates are always available, if you want a DVD template or open credits you can find something for free especially for weddings online.
  
• Common pitfalls include, shaky footage, out of focus footage, poorly framed footage, forgetting to record, BAD AUDIO.
  
• how you prevent it ending up like crap, PRACTICE. Go film things with your set up test audio test zooming, test editing test everything so when you are out and shooting you don't get the "Oh shit" moment. PRACTICE PRACTICE PRACTICE. Watch other wedding videos see what you like what you don't and how you can make a good video with your tools you have.
  
  
  TL;DR be prepared, plan, practice.

I'm not the best person to be giving advice, but I just dropped out of film school last year (I was only there for a year) and have begun making some progress on my own.

First of all, watch a lot of movies. Literally the only thing I miss about school was having access to so many classic films playing in the theater every weekend. Netflix can be just as good, however. But never stop going to the theater.

Secondly, read. Look up some textbooks that film classes use. I really enjoyed Shot By Shot and On Directing Film, since I want to be a director.

Thirdly, and most importantly. Make films. Try to work on projects all the time. Your projects, your friends projects, random web series that post on facebook asking for free crew members.... it doesn't matter. Stay surrounded by film, because that's another one of film school's biggest strengths. It can be difficult to stay motivated when you don't have a GPA looming over your head.

Again, I'm by no means a success so take my advice however you will. Good luck!

Hi /u/griel1o1 - it's taken me several years and a lot of trial and error - but I have put together a little studio that works. Using what I've learned, you can put together a complete production studio for less than $1000. Here is what I recommend [Referral Links]:

CAMERA:

• [Panasonic DMC-G6 camera with kit lens - $710] (http://rover.ebay.com/rover/1/711-53200-19255-0/1?icep_ff3=2&pub=5575034783&toolid=10001&campid=5337235943&customid=&icep_item=201073493366&ipn=psmain&icep_vectorid=229466&kwid=902099&mtid=824&kw=lg). This is the best value for money large sensor, interchangeable lens camera with a video-capable viewfinder, hours of continuous recording and a mic jack below $1000. Links below the equipment list show what this camera can do. DSLRs such as the Canon T2i/T3i/T4i/T5i have viewfinders that go blank when you switch to video mode (blocked by the mirror, which is useless for filmmaking). This forces you to use the LCD for composition and focus - which can be a chalenge outdoors, where the LCD can be washed out by bright sunlight. Many Canon shooters buy expensive LCD viewfinders or Electronic Viewfinders (EVFs) to shoot outdoors. The G6, on the other hand, has a built-in EVF - so outdoor shooting is not a problem.
  
  DSLRs are also limited to 12-30 minutes of continuous recording before they have to be restarted. The G6 can record for hours continuously, without interruption. This can be very helpful for long interviews and speeches.
  
  This camera is also compatible with power zoom lenses, when you can afford them. There are no affordable power zoom lenses for low-end Canon DSLRs.
  
  SUPPORT:
  
  
• [Ravelli AVTP Professional Tripod - $130] (http://www.amazon.com/gp/product/B00139W0XM/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00139W0XM&linkCode=as2&tag=battleforthew-20). I own this tripod, and it is professional quality, with a 75mm bowl - which allows you to level the camera without adjusting the legs. A huge time saver.
  
  AUDIO:
  
  
• [2 Rode Smart Lavs to plug into iPhones - $120] (http://rover.ebay.com/rover/1/711-53200-19255-0/1?icep_ff3=2&pub=5575034783&toolid=10001&campid=5337235943&customid=&icep_item=181244511796&ipn=psmain&icep_vectorid=229466&kwid=902099&mtid=824&kw=lg) With the [free Rode Rec LE App] (https://itunes.apple.com/us/app/r-de-rec-le/id590021166?mt=8), you can plug these mics into iPhones, sync the audio tracks in the editing suite, and have a pro quality recording solution without buying an external recorder.
  
  
• [SmartLav to camera adapter - $17] (http://www.amazon.com/gp/product/B00L6C8PNU/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00L6C8PNU&linkCode=as2&tag=battleforthew-20). For shots where you need to plug one of the lavs directly into the camera.
  
  LIGHTING:
  
  
• [LimoStudio 3 point Umbrella Lighting Kit - $50] (http://www.amazon.com/gp/product/B005FHZ2SI/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B005FHZ2SI&linkCode=as2&tag=battleforthew-20)
  
  TOTAL STUDIO COST:
  
  $1027
  
  Here is the image quality this camera can produce:
  
  Documentary:
  
  http://vimeo.com/97274302
  
  http://vimeo.com/73561266
  
  http://vimeo.com/87978429
  
  http://vimeo.com/78507820
  
  Narrative:
  
  http://vimeo.com/78037118
  
  http://vimeo.com/81339712
  
  Music Video:
  
  http://vimeo.com/88584840
  
  http://vimeo.com/84436275
  
  Slow Motion/Sport:
  
  http://vimeo.com/76503135
  
  Travel Video:
  
  http://vimeo.com/88543042
  
  http://vimeo.com/86145944 (shot with a power zoom lens)
  
  Compared to the $3000 Canon 5D Mark III: http://vimeo.com/82318903
  
  There are many more examples on the Panasonic G6 channel I moderate over on Vimeo: https://vimeo.com/groups/dmcg6
  
  It's a pretty good still camera too:
  
  https://www.flickr.com/groups/lumix-g6/pool/
  
  https://www.flickr.com/groups/2217639@N20/
  
  Hope this is helpful and saves you some time and money!
  
  Bill
  

What else you'll need for your rig

I built something roughly akin to what you see in their product photo, with a couple of modifications due to my attempts to counter-weight a particularly heavy camera kit. You don't necessarily need everything I use (especially if your audio is being boomed off-camera, you have a decent shot lighting setup, etc.), but I tend to be a one-man-band. If that applies to you, counter-weight and balance might be an issue. Here's what I have on my rig:

• A camera body. I use the Nikon D800.
  
• A lens: I use either a 14-24 f/2.8, a 24-70 f/2.8, or a 70-200 f/2.8.
  
• A microphone. I use the Sennheiser ME 66/K6 in a Rode Blimp cage, (not including the blimp housing/dead wombat muff), with a Rycote Softie). (The blimp housing and dead wombat muff only gets used when the wind goes over 15-20 mph.) In case you're shopping for mikes, I chose the Sennheiser because it has a much hotter signal than the Rode NTG-2, and I liked that I could switch off the power when I wanted to. It also seemed to have a cleaner, brighter signal to my ears, but that's personal preference.
  
• A digital recorder. I used to use a Tascam DR-100, but have switched to a Zoom H6
  
• An external battery pack for the recorder. I use the Tascam BP-6AA which, as the model number implies, uses 6 AA batteries as a power source. This is actually an AWESOME accessory because it allows you to use AA batteries (something I tend to have hundreds of - NiMH - due to my flashes and such) to power just about any device that charges via USB, in addition to coming with a Tascam-specific USB-to-power adapter cable. The Zoom charges via USB, so I get even more battery power than it normally gets before I need to swap batteries.
  
• A Neewer 160-LED video light, which is usually on the camera's hot shoe.
  
• A Kamerar QV-1 Viewfinder kit, which has EXCELLENT optics for the money and also works wonderfully with both a rig and mounts directly to my Manfrotto 502HD fluid video head.
  
• A GiniRig follow focus for focusing (came with the rig), and a Kamerar FF-3 follow focus for zooming.
  
• A 2-foot Mogami Gold microphone cable and a Seismic Audio XLR splitter cable for recording the shotgun mike onto two tracks at different levels to protect against peaking.
  
• A Sescom attenuation cable, though I'm told the Zoom H6 no longer needs one due to a recent firmware update. If not, any 3.5mm to 3.5mm stereo cable.
  
• Some extra 15mm rail-compatible attachments (an 11-inch articulating arm for the recorder, a small cheese plate to attach to my tripod plate, etc.)
  
• A bunch of little Velcro cable ties to keep all of my cables nice and tidy.
  
  That's a LOT of crap to have on your rig, but again, it makes a second or third person unnecessary. (Though it's always better to have your audio off-camera and and better lighting present if you can afford it.)
  
  Here is a decent video review that helped me make my buying decision. This is very close to the rig I purchased - GiniRigs seems to regularly revise the specific parts that come with their rigs. I mentioned earlier that I'd gotten a lot of comments on my rig - this is not always a good thing. Listen to the reviewer's commentary at 4:23 on the rig grabbing attention when he was shooting an event - this can be a factor that might have a negative impact on your clients if you're shooting an event rather than a film/other closed subject.
  
  One note about making sure you're actually buying GiniRigs from the right folks: apparently GiniRigs has an impostor who is buying and reselling their gear and pretending to be them. They told me that they were mid-lawsuit about a month or two ago, and that the Facebook Profile as well as http://ginirigs.com/ (which seems to have gone down - maybe they won the lawsuit?) was by the impostor. For "real" products with an actual warranty, buy from GiniRigs-USA.com or, if you're in the UK, GiniRigs.co.uk.
  
  Hope that helps!

HybridCamRev gave a very balanced and objective response. Any choice in your intended price range will come with its own set of pros and cons. Even Hybrid's suggestion of the BMPCC and GH3 have their downsides as he so rightly pointed out.

Before you rule out the DSLRs he mentioned, consider this as further balancing opinions.

Canon T3i/T4i/T5i (and the about to be released T6i and T6s)

You said you want to shoot narrative short films. Therefore, the limitation of shooting continuous video for 12 (or 30 mins) is never likely to be a problem for you. It would be very rare to have a scene shoot for that length of time without a cut. (A documentary interview might be different).

Magic Lantern firmware (free) turns any of the above cameras into a video powerhouse and, among many other expert features, kills the continuous video time restriction.

The mirrors do block the camera's viewfinder but most filmmakers would prefer to use an LCD display or external monitor anyway. The LCD viewfinder is difficult to use in bright sunlight but Magic Lantern will give you exposure zebras and focus peaking to assist you (and a viewfinder, which is relatively cheap these days, will also help).

There are always ways around things. So, cutting to the chase, here's an option for your $1,500:

A Canon T3i with the kit 18-55mm lens will set you back around $550. Look at this deal. You get the camera, three lenses, UV filters and SD cards for $569 (http://www.amazon.com/Canon-EOS-Rebel-T5-Professional/dp/B00J34YO92/ref=sr_1_3?ie=UTF8&qid=1427482664&sr=8-3&keywords=canon+t3i).

So now you've got a camera, some useable lenses and a few other useful bits and bobs. You're practically ready to start shooting and you have about $1,000 left. (Okay, I pushed your budget up just a little bit for the purpose of rounding).

With that, you can buy yourself a Juicedlink preamp and a Rode NTG-2 mic and eliminate the issue of on camera audio (which is terrible).

The Rode NTG-2 is a great shotgun mic and more than adequate for shooting shorts with. It's $266 http://www.amazon.com/Rode-NTG2-Condenser-Shotgun-Microphone/dp/B00093ESSI/ref=sr_1_1?ie=UTF8&qid=1427483021&sr=8-1&keywords=rode+ntg-2

A Juicedlink preamp bypasses the (terrible) preamps on your camera and the audio (from the NTG-2) still gets recorded to your SD card at the same time as your video. No synching in post. It also has headphone monitoring so that eliminates another problem that Hybrid mentioned - no on camera audio monitoring. Now you have it.
It's $329 http://www.amazon.com/JuicedLink-Riggy-Assist-Dual-XLR-Preamplifier-Metering/dp/B009YMHVAW/ref=sr_1_6?ie=UTF8&qid=1427483192&sr=8-6&keywords=juicedlink

So, now you have the camera, three lenses, a mic and a top notch preamp and you still have $405 left.

With your remaining $405, you should drop $112 on a Canon 50mm 1.8f lens. It is the best lens this small amount of money can buy. You could practically shoot your entire short on this thing. It is a super fast lens and renders a beautiful image. It's hard to believe what this lens can do and it is often referred to as the "nifty fifty."

Now you have 4 lenses and you still have $293 left out of your $1,500 budget.

With that, you can get yourself a good starter tripod for around $100, leaving you just shy of $200 remaining to get yourself this killer rig for your camera which you can also mount your Juicedlink preamp to: http://www.amazon.com/FILMCITY-Shoulder-FC-02-Camera-Matte/dp/B00J5GT858/ref=sr_1_1?ie=UTF8&qid=1427483755&sr=8-1&keywords=filmcity+rig

Then, download and install Magic Lantern so you have focus peaking and exposure zebras (as well as a ton of other features hiding inside your T3i).

Then, download Technicolor Cinestyle picture profile. It's free and it's a superflat image which gives you 2 extra stops of dynamic range in post.

Look at what you got for $1,500. You're ready to shoot your short film.

Good luck!

I would say get some DVD's and watch the special features.
If you're still interested, get some books about filmmaking, filmmakers, and story telling.

Read "In the Blink of an Eye" by Walter Murch. As a film maker it's one of the best books I've read. It's based in editing, as Walter Murch is an editor, but it really covers the basics of how to make something "work" on the screen. Check it out for sure!

Then get yourself a camera, heck, it can even be the camera on your iPhone or whatever you may have. Shoot some film (not literally, you're using your phone), use the stock editor that comes with your computer (iMovie or Windows Movie Maker, whatever you may have) and cut something together, even if it's just a minute or two long.

If you're still enamored with film like the rest of us are, then start working on bigger projects, and try to find work on a film set (or if your strengths are in the office, you could be an Office PA - better hours, but less exciting than being on set). Working on a film set could be dictated by where you live (in the event you don't live in a "film friendly" city, there will be less opportunity of course).

The advice of jeanfr elsewhere in this thread is also top rate.

Good luck to you!

Just a few thoughts: If you are a beginner and especially if you are going to be both operating the camera and doing interviews at the same time, don't use a DSLR. You need a regular consumer camcorder, the nicest one you can afford. Be sure it has an external microphone input and a headphone output. So, you will need at least one external microphone, a shotgun and/or a lavalier. The most important thing in your documentary is good sound!

This little Audio Technica lavalier can sound just fine:
http://www.amazon.com/Audio-Technica-ATR-3350-Omnidirectional-Condenser-Microphone/dp/B002HJ9PTO/ref=sr_1_2?ie=UTF8&qid=1382119845&sr=8-2&keywords=audio+technica+lavalier+mic

This inexpensive shotgun also works well:
http://www.amazon.com/Audio-Technica-ATR-6550-Condenser-Shotgun-Microphone/dp/B002GYPS3M/ref=sr_1_1?ie=UTF8&qid=1382119920&sr=8-1&keywords=audio+technica+shotgun+mic

A little explanation: A consumer camcorder has pretty good auto focus and usually face recognition, so you won't have to worry about keeping things in focus. Also, you'll have pretty good auto exposure and auto white balance. If you are shooting your first documentary with limited experience and/or a very small crew, you need to think about content and let the camera help you instead of having to think about too many things. It's true a DSLR with a good operator can make your documentary look better, but it won't matter if the story isn't there. If your story is good, the audience will accept a lot of shortcomings, especially in the picture.

When shooting, use the external microphone whenever you can. If you have only one subject, use the lavalier, otherwise use the shotgun. Always monitor the audio in the headphones. I have a friend who accidentally plugged the microphone into the headphone jack and didn't know it until too late!

Good luck!

Before you start reading all this stuff start small get the camera and a lens and then work on the audio. When people start out they start will just a little and work with what you have and then buy new stuff when you think you need it. There are better cameras then the E-PL1 but nothing as good as the E-PL1 as this price point and I mean nothing. The E-PL1 is great camera.

If you need a camera go on Amazon and buy the E-PL1 for $150.00 dollars.

OLYMPUS 262855 12.3 Megapixel E-PL1 Pen Camera (Black camera body)

http://www.amazon.com/OLYMPUS-262855-Megapixel-Camera-camera/dp/B0037VVWBK/ref=sr_1_2?ie=UTF8&qid=1343776787&sr=8-2&keywords=e-pl1

Also you can buy the mic add on or by another audio record and sync in post editing. What you do is clap your hands and you will see a sound spike that's how you sync then delete the audio track from the cameras in the editing software.

Like this one

http://www.olympusamerica.com/cpg_section/cpg_pen_accessories.asp

Also this one

http://www.amazon.com/Zoom-H1-Portable-Digital-Recorder/dp/B003QKBVYK/ref=sr_1_1?s=electro


The the Olympus one first from Amazon its cheaper then get the other one latter if you need it. I think on Amazon its like 50 dollars.

You can buy this camera with the lens for another 100 dollars or so. I like the Panasonic lens better because the auto focus is silent. But most of the time you want manual focus.

Panasonic Lumix 14-42mm f/3.5-5.6 G Vario Aspherical MEGA OIS Lens for Micro Four Thirds Interchangeable Lens Cameras

http://www.amazon.com/Panasonic-14-42mm-Aspherical-OIS-Interchangeable/dp/B0043VE28I/ref=sr_1_1?s=electronics&ie=UTF8&qid=1343777192&sr=1-1&keywords=14-44+panasonic

Watch this video.

Panasonic Lumix DMC-GH2 and Micro 4/3 Minolta MD MC Mount Lens Adapter

http://www.youtube.com/watch?v=SNzbuC9Kbuo

Olympus and Panasonic are both Micro 4 3 so the lens and flashes work with each other.

Panasonic is better for video like the GH2 but it cost a lot more and its really for higher end filmmakers and I do not think you need it really. Get a adapter and buy some manual lens like a Minolta 28mm and a 50mm 1.7 or 1.4

Hey! You got some pretty cool shots here! I have a couple recommendations:

Depending on what you're shooting video with, it looks kind of like you shot a lot of the video at a faster shutterspeed and the video at 60 frames per second. With a few exceptions, it generally looks better/more natural to the human eye if you shoot in 30 or 24 frames per second and as a rule of thumb double that for your shutterspeed. So 30fps =1/60 and 24 fps = 1/50. Unless you have a reason to shoot outside of one of those two that's a good default. 60fps is also pretty good for slowing down footage for a subtle slo-mo if that's what you chose to shoot natively, for a travel video like this, that could be pretty cool.

Also, some of your shots are pretty shaky, I would advise for stuff like this to get a handheld stabilizer like this one or if you can't do that, the stabilizing software within the editing suite you're using (and preferably, do BOTH of those things for really radical, smooth shots).

You'd be surprised how much better your footage will look doing just those two things! :) keep making stuff like this friend!!

Unfortunately that's a bit of a tricky question for me because I've never used a fluid head tripod in that price range, so I couldn't tell you for sure what I recommend.

My good friend does have one of these Ravelli fluid head tripods though
https://www.amazon.com/dp/B00139W0XM/ref=cm_sw_r_cp_apa_wYjGzbVN8V3T9

Its just out of your price range at around $150, but I've worked with it and can say that for the money it's a great tripod.

I've also worked with this manfrotto 700rc2 (actually got lucky, someone left a perfectly good one sitting by a dumpster up here in Chicago haha). But it's also served me well, especially with lighter cameras like the g7/t5i, and you can find the head for those for about $80, so may just be interested in buying a head and adapting it to a cheaper tripod.
https://www.amazon.com/dp/B000JLO6V4/ref=cm_sw_r_cp_apa_b0jGzb1GJDEHJ

The other replies here are good suggestions, but everyone is suggesting new lenses. Personally for someone starting out I would suggest crawling craigslist or KEH for some used nikon or super-takumar lenses. You'd have to buy an adaptor ring but even with this you can get two or three solid lenses for the cost of one new one.

There would be no automatic/electronic components meaning you would have to do everything manually, but if you are interested in getting into cinematography this is good as it forces you to learn how lenses work and what looks best.

Audio is best recorded separately, but in a pinch having a mic that attaches to your camera is better than nothing. I would suggest a Rode Videomic as they can be used with a small external recorder or your new camera.

Lighting equipment is expensive, but a DIY set can provide great results on a budget. Some wax paper, PVC, and work lights from Home Depot can look good if used correctly.

Sounds very familiar to where I was at!

Honestly, that Zoom H1 is worth looking at. The H4 (it's big brother) is pretty standard for an external audio recorder, so you know the Zoom brand is solid. It won't blow you away but it is 20x better than your in-camera audio, and in a mostly quite environment it will produce great results.

For a mid-level camera, I've been rocking a Canon 60D for a while and it also gets the job done. It has a lot of the features of the 5D, for half the price. It IS a crop sensor though, so looking into a 5D MK II on Ebay might be worth it, not sure what they're going for. After you get used to how the crop sensor effects the glass you buy, it stops becoming such a huge problem. That's my experience at least.

It might not be a huge jump from your T3i but it's definitely better. If you already have that T3i, I'd take that $1,500 and invest it in equipment that isn't a camera body. Think prime lenses, lights, a boom mic/pre-amp, good tripod/shoulder rig, a monitor/loupe, that kind of thing. That equipment will make whatever you can shoot on your T3i look SO much better, probably more-so than a slightly better body. Again, just my opinion.

most important for gh2 is lens adaptors / lenses. anything so you don't have to shoot with the extremely limited m4/3 lens selections. I'd go with old school nikon primes. thats the cheapest way to cinema look. I have since invested in more expensive canon zoom lenses, but that is for long term investment, because honestly I don't see m4/3 as having much shelf life in terms of video. I really think panasonic made a mistake with the format. they just got lucky that hackers made the gh2 so awesome. so yea, for more expensive glass, I'd say its smarter to invest in s35 or full frame.

Audio. I use a zoom H4n for my dslr recording. I have an me-66 for shotgun stuff, and sennheiser g2 kits for wireless (with the me-2 mic). i usually just do wireless for most things. does the job great.

Shoulder rig, anything really will do. I recommend you don't be seduced by the zacuto stuff, if only because equally functional rigs can be had for 1/10th the cost. I got a $200 indie systems rig on ebay, then DIY'ed a counter balance for it. works great.

other. may want an on camera light, depending on what you're shooting. there's a light on amazon thats only 34 dollars. its cheap, but again, does the job, for 1/10th the litepanels equivalent. (I have the litepanels micro, purchased for $300, equally cheaply constructed and not nearly as bright.) I would definitely have bought this cheap one if it existed at the time.

I really like the quality of the audio. I've used it as my only source of audio for 4 short films as a mixer and even some foley with the onboard mics. I use it separately with a shotgun mic on a boom (just using whatever mic I can get from my school, haven't purchased one yet).

However, I wouldn't recommend it for your case of recording on your camera because you'd end up having to (and I've never tried this) rigging up a way to have it attached to your camera then lined in to the camera with the onboard mics which are fine for receptions and all but bad if you want to focus on people talking (then to fix that you'd have to attach a shotgun mic via XLR and it just becomes cumbersome).

I would honestly look into the mic that the OP has: Rode VideoMic Pro. I've never used it but it has great reviews and seems, to me, to be the best cheap solution for on-camera audio. Use it outdoors with a deadcat and Magic Lantern installed on your T2i to monitor the audio while filming and it'll be a great option for videography and short films.

OR/ALSO/HEY RICH GUY CHECK THIS OUT, you can use this JuicedLink DT414 which is designed to attach to your camera and mix up to 4 mics. Yeah...lots of options.

1. That depends, film school is only really worth it for the connections you'll make. For me, it was worth it. I'm from a very dead film less part of the world and University helped me meet people I can go out and make films with now. But if you're living somewhere were you can already pick up a camera and go, then no.
   
   
   
   
2. Yes, read, research and pick up a camera.
   
   I'm not going to post any sites related to the art of making films, rather the act. So how to use a camera correctly etc.
   
   [Phillip bloom] (http://philipbloom.net/)
   
   
   [Stu Machwitz] (http://prolost.com/)
   
   
   [Vincent Laforet] (http://www.laforetvisuals.com/)
   
   
   [Nofilmschool] (http://nofilmschool.com/)
   
   There's many, many more. but you can start with these and see where they send you.
   Remember this is about how to use a camera correctly, not how to make a great film.
   
   Books:
   
   [DV REBEL] (http://www.amazon.co.uk/The-DV-Rebels-Guide-All-digital/dp/0321413644/ref=sr_1_1?ie=UTF8&qid=1335343450&sr=8-1)
   
   
   [Rebel without a crew] (http://www.amazon.co.uk/Rebel-without-Crew-Robert-Rodriguez/dp/0452271878/ref=sr_1_1?s=books&ie=UTF8&qid=1335343468&sr=1-1)
   
   
   
   
3. The best resources for an aspiring film maker is a camera. I will give you an example
   
   I started by learning about DP and cameras. Like I said, I don't know lots of people who will pick up a camera and film for me. So I depend on me. I bought myself a camera, lenses, filters, shoulder mount. Downloaded editing software, watch lots of videos and just went from there.
   
   I was the best camera man anyone could ask for (in university), and now. When I make my own films that's worked out really well because I'll pick up the camera and make a film. I just need to find a couple of actors on the internet and ask a few friends to come out for the day.
   
   Goodluck
   

The type of stabilizer you need will depend greatly on your budget and camera size. They range in price from $20-$10k so there's no "right" one you need.

The first thing I would do is figure out how much your camera setup weighs (including the camera body, lens, battery, and any monitors/extras that you plan on having on the camera when shooting). Either weight it on a scale or find out how much each part weighs online and add. Give yourself some wiggle room with the weight limit so you don't buy a useless rig (i.e. if a stabilizer's weight range is 2-5lb, I would put 4.5lb on it at the most).

As far as what type of stabilizer to get, that's all a personal preference. Handheld monopod-type stabilizers are cheap and will get you steady shots, but you have to keep in mind that your arms will get tired very quickly.

Shoulder mounts tend to not be perfectly steady, and are usually used to mimic hand-held (where actual hand-held creates way too shaky footage). Don't buy a shoulder mount with the intent of getting steadicam-esque shots. On the plus side, they're usually cheaper than cages and are easier to use over long periods.

Cages (like the Movi or Ronin) provide excellent results but are often cost-prohibitive for somebody buying their first stabilizer. They tend to take smaller cameras and require some skill in setting them up and using them properly, but if you have the money and your camera fits, you should definitely consider one. I've used the Movi M5 a number of times and it's awesome, albeit a pain to set up and very costly.

In short, do your research and don't feel like you need to drop $5k to get a good stabilizer. If you want help picking a stabilizer for your set-up feel free to DM me and I would love to help!

The Rode Videomic Pro might be useful, but it (or anything like it, that plug directly into the camera) is not going to have quite the same audio quality as an XLR mic. If you have the budget for it, I would suggest the Audio Technica AT875r with a Zoom or Tascam, and get a hot shoe mount if you want it mounted on the camera. Part of the reason for this is that having a separate mic will allow you to do more in the future, while still allowing it to be camera mounted when desired. It also will make it easier to capture foley for your film easier, allowing you to mic footsteps and clothes rustling, breaths, etc... Third, the quality and pickup will be a bit better.

​

In short, if you have the budget for it, a broader setup will be more effective, especially in the long run. If you don't have the budget for it, a camera mounted mic will still work, but you will likely need to upgrade in the future. If neither are in your budget, it is possible to get someone to do foley for you and add it in, or find someone in the area who has a mic to record the audio for you (even paid, this will likely be cheaper if the shoot only lasts a day, but you may be able to find someone willing to work for free if they are just starting out).

Best and cheapest are two different things. IMHO, you want the best sound possible since audio makes your film look better.

You can get a lot of bang for your buck with a Zoom H4N audio recorder, a RODE mic and a boom pole. If you have a couple of bucks more, look at a pair of RODE wireless lavalier mics as well. These are wireless body mics. You can use those on actors, but also they can be hidden on set in places that are hard for the boom to reach. The key idea about recording audio is to get the mic as close as possible to the person speaking.

You probably also want a slate with a clapper on the top. You don't need a fancy one with timecode. Apps like Davinci Resolve can sync sound automatically, but it's always better to have a clap at the top of the shot in case you need to sync it by hand. Slating your shots laso make it easier to figure things out in the editing room.

The question is too monolithic to get you any deep useful information. It's like asking "I don't know how to drive, but do any of you have any tips on how to win the Indy 500?"

http://www.amazon.com/The-Filmmakers-Handbook-Comprehensive-Digital/dp/0452297281 is pretty much the defacto reference guide. Reading it cover to cover will allow you to gain a very shallow baseline knowledge quickly.

There are also producers guides (specific titles escape me at the moment, but I'm sure other redditors will pick up the slack) that will have release forms, information on setting up an LLC, dealing with distribution, general marketing, film festivals, and so on.

I would stress that the quality of the audio is far more important than the quality of the video. Filming on your cell phone but recording audio with a nice audio recorder will do wonders to how people perceive your documentary. It's a little more work synching the audio to the footage but I come from a documentary background and I can't tell you how much good sound helps with any video. Consider purchasing this: http://www.amazon.com/Zoom-Handy-Portable-Digital-Recorder/dp/B001QWBM62
It's relatively simple to learn and use. It's small enough to carry around with one hand or in a bag. Musicians use it predominantly to record their music. Synching audio is pretty simple as well. Just roll your audio then roll your camera. Once both are green, clap your hands and you can sync the audio to the clap in post-production (for interviews of course). When you are filming footage in the field and both of your hands are preoccupied, you can just film yourself stomping your foot to match audio.

If you want something more than cell phone quality for video, check out this flip camera: http://www.amazon.com/Flip-UltraHD-Video-Camera-White/dp/B0040702IE/ref=sr_1_2?s=electronics&ie=UTF8&qid=1345657139&sr=1-2&keywords=flip+camera
It films at 30 fps as opposed to the other flip which is 60fps. 60 fps will make your video look like a home movie. 30 fps is closer to the standard 24 and makes it look more professional imo. Any HD camera will suffice with 30 or 24 fps recording.

If you want the audio all on one track as you record, you're going to need a mixer of some kind (a device that takes several inputs and feeds it into a single output). This might get expensive, clunky, and difficult to set up.

My suggestion is that you buy stand-alone audio recorders for as many people as you want to have miced, with lav attachments. I have a Zoom H1 with a cheap lav attachment from RadioShack, and it works great for what I do.

In order to make it work, you'll have to start recording on each recorder manually, and hide it in the subjects pocket or something (you can test if the lav is working using headphones). It would be smart, once the camera is rolling, to get one of your subjects to clap loudly on screen (like they do with a slate on movie shoots), because you'll need to sync the different audio tracks in post-production. You'll have to remember when shooting that every time you stop and re-start recording, you'll need to re-sync in post, which can get extremely tedious, especially with multiple different tracks.

Now, the benefits to doing it this way are: it's less bulky than using a field mixer for multiple inputs, and your camera will not be tied down to the input; it frees up your subjects to move around; it's much cheaper than what you'd need to buy for wired and/or wireless mic/mixer setup; and reduced chance of wireless interference, without wired loss of freedom.

Downsides: having to sync in post can be a bitch; less freedom to stop/start recording whenever you want if you don't want to have to re-sync 50 times; no way to tell if it sounds good until you're done shooting (but checking with headphones before a take, and making sure batteries are full will solve 90% of this problem)...

Anyway I hope that helps.

Hey bud,

Not sure how much you know about audio recording devices and such, I don’t know too much myself but I know enough to help you...

It looks like it comes with an XLR to 3.5mm (“aux cable”) so any audio recording device with an INPUT of the 3.5 mm will work.

I recommend getting just a normal XLR cable too if you have the money, they are extremely cheap.

But since you have the special cable with 3.5mm jack on one end, you can plug it into your phone or computer and record using one of those!

Hope this helps.

XLR cable 6ft;

https://www.amazon.com/dp/B001JI2KHS/ref=cm_sw_r_cp_api_i_Nlu5Ab48HZK33

Audio recorder example:
https://www.amazon.com/dp/B003QKBVYK/ref=cm_sw_r_cp_api_i_Imu5AbCMCNFQS

^ that audio recorder only has the 3.5 mm input which is what you need, but I recommend you get one that has both an XLR and 3.5 mm input. But I understand budgets can be tight :)

Look into the Black Magic Pocket Cinema Camera. It's about $1000 without lenses. It shoots ProRes and RAW HD. Get a free copy of Resolve to edit and color grade the footage. It's a great little camera that takes beautiful footage, and Resolve takes it to the next level.

Here are some samples to give you an idea of the quality.

For £4000, you should be able to get a camera, batteries, memory cards, lenses, ND filters and an outboard audio recorder and mic.

I recommend these lenses:

Tokina 11-17mm

Voigtlander 25mm

Sigma 18-35

The Voigtlander is MFT, but the other two I recommend getting in Nikon, and buying an Nikon-to-MFT adapter. Part of the joy of MFT is that you can use nearly any kind of lens with the proper adapter.

I also recommend getting two kinds of adapter: a straight adapter, and a MetaBones Speed Booster, which widens the focal length of the lens and adds about a stop of light. It's like getting twice the number of lenses for the cost of an adapter. (For example, the 11-17mm lens goes to 8mm with the Speed Booster.)

Glad you're trying it out and putting in the effort.

I don't want to sound like I'm encouraging quitting or anything but there's nothing wrong with realizing that something isn't for you. You may need to check out more things/adjust your expectations (of yourself and of the work) before making that decision.

Don't be frustrated just because you don't understand as much as you thought. If you want to and you're dedicated, you can become even more skilled and knowledgeable than anyone on that set. These things take time and effort, of course.

Lighting isn't the easiest thing to grasp and "3-point lighting" is really just a starting point; a general way that you might decide to use to light a scene and which can work any number of ways rather than being one particular setup/ratio. The Set Lighting Technician's Handbook is very informative, if you're really interested, but there's also plenty of guides online and I'd be happy to break down a few basics if you'd like.

Absolutely. I started with a Neewer stabilizer, I've yet to invest in a motorized gimbal myself, as those go for upwards of $600 for a decent one. For short docs I find myself using a shoulder rig the most, and for a shoulder rig I started with the Neewer brand as well. This brand was my best friend starting out lol. The stabilizer/glidecam will take a tinsy bit of practice but this particular one has served me very well personally. YouTube search the gear you're eyeballin, see what others say, and you'll surely make the best choice suited for you. Cheers!

https://www.amazon.com/dp/B00NJKJ1IA/ref=cm_sw_r_cp_apa_0tLLzbKA1ZE19

https://www.amazon.com/dp/B00GTMBA7K/ref=cm_sw_r_cp_apa_IzLLzbHH9G1YM

For audio, the key thing is that you want the microphone as close to the actors as you can get. Starting with a shotgun mic and a boom pole will probably be your best bet unless you have the cash to splurge on wireless lavs. Rode and Sennheiser are always a good bet, but even a cheaper option like this Audio Technica mic will be way better than anything built into the camera.

For a camera, you'll want something that allows you to change focus/aperture manually. That's really the key to getting dynamic shots, where you can set focus for foreground/mid/background objects to keep things interesting. Depending on your budget, if you can afford a DSLR still camera that is capable of recording HD video you will get a lot more mileage out of it than a cheap handycam. The Panasonic LX7 is a good bet for lots of manual control.

If these are beyond your budget for now, just shoot with whatever you can get your hands on, even the GoPro.

• Canon T2i
  
• Rode mic
  
• 50mm lens
  
• Tripod
  
  Dslr cameras are the best thing in a price range of $4000 or less. The canon t2i is lower end but has huge bang for buck. You really do want an external recorder for them. Dslr audio is horrible but that rode mic will really improve it, just not as much as external recording. The 50mm lens is the best starting point it is very cheap but looks great. You need a tripod for a dslr because they look horrible hand held unless you have a good stabilization rig or steady cam.

On the subject of books, Walter Murch's 'In the Blink of an Eye' is a great insight into filmmaking and film editing, and how the idea of cutting (which is mainly what separates a finished film from its component shots) relates to the real world and human perception. When, and when not, to cut.

Don't treat the man's words as gospel, but they'll certainly make you think.

And as others have said, don't just aim to be a director and isolate yourself in that. The best directors have at least some experience of every position they're asking others to do - you're never able to fully appreciate what you're asking of people unless you've done their job at least once. This will at least make sure you're asking the right questions, and people are much more likely to want to help you/work for you if you seem to understand where they're coming from.

1)Small movements, and the action figure has to have a lot of movement in the joints otherwise it will look blocky. Basically stop motion will take awhile to do one move so hope you have the patience.

2) film crit hulks stuff on the 5 act structure: http://birthmoviesdeath.com/2013/12/11/hulks-screenwriting-101-excerpt-the-myth-of-3-act-structure and character trees: http://birthmoviesdeath.com/2014/03/06/hulk-presents-character-trees have been very useful for me.

3) Thats actually a good start and a lot of people do that and learn from thst. I also recommend learning about cinematography to understand why shots eork though. This is my favorite book: https://www.amazon.co.uk/gp/aw/d/0240812093/ref=mp_s_a_1_1?ie=UTF8&qid=1475034664&sr=8-1&pi=AC_SX236_SY340_FMwebp_QL65&keywords=cinematography

I hope that helps and hope you have fun with it.

Since your title specifies low cost you can save some money by using a wired lav mic like this Audio Technica or this Olympus lav mic. You simply plug it into the camera's mic input. A 3.5mm extension cable might be needed to reach the camera. Use the lav mic with an inexpensive voice recorder if you need the subject to move around. Smart phones have decent audio recording apps too. Syncing the audio in post can be a hassel so only do this if the shot requires being untethered. If you record audio with a separate recorder it helps to mark it by saying a scene number and making a clap sound so you can find it and sync it with the video editing software.

For lighting you might consider an inexpensive LED light and a second battery. Charge one battery while using the other.

I've used clamps like this and this for quick and simple mount of camera and small lights to a chair, windowsill, cupboard, etc. You can use JB Weld to put a 1/4-20 nut-coupler on the light if it doesn't have it already.

edit: I like Canon equipment and their line of Vixia Camcorders starts at around $300 and has a mic input. The lens and image stabilization gets you a nice picture compared to a camera phone or similar "cheap" camera.

IIRC Premiere has a basic mode that uses a simpler timeline more like Apple's iMovie. You can download 30 day trial versions of the latest Adobe products. Give Premiere Elements a try.

I love the Rode NTG2, I use it for all kinds of things. Very versatile, very good sound quality, great price. It has a battery (AA) for setups that can't provide phantom power though it doesn't last long and is "on" as long as a cable is connected. I'm not sure what else to say about this mic. It's pretty great.


http://www.amazon.com/gp/product/B00093ESSI/ref=oh_details_o02_s00_i00?ie=UTF8&psc=1

The 50mm prime lens is a nice ADDITION to your kit. I would not purchase a 50mm lens as your only/first lens because you are then forced into moving your camera closer/far away from your subject as you can not zoom to set up shots.

The 600D is good for what it is and you don't have many other options for under 1000$. Most 600D's come with an 18-55mm lens, I purchased a used 600D with a 18-135mm lens which I recommend over the 18-55mm. Of course, it is slightly more expensive, but glass isn't a bad investment because should you upgrade your body, you still have your lenses.

Tripod: http://www.bhphotovideo.com/c/product/243272-REG/Davis_Sanford_PROVISTA7518B_Provista_7518_Tripod_w_FM18.html

Several other redditors have recommended this tripod, and I own one as well. Stands up to about 6 feet tall, fluid pans and tilts, quick and easy to set up/break down. Best bang for the dollar.

Audio: Zoom H4N is the recorder you would want, but unfortunately, I think everything you are looking for is tough to get under 1000$. Since you are doing interviews I would recommend 1-2 wireless lavaliers.

If you are working by yourself, maybe a RODE Videomic PRO. It's a shotgun mic, but operates through 3.5mm rather than XLR, so it can mount on your cameras shoe and plug directly in replacing your camera audio. There's a kit you can get with the VMP that comes with a dead cat, boom pole, and extension cable. If you buy a Zoom H1, you can record to that and boom from wherever regardless of your camera. However, the Zoom H1 doesn't take XLR input.

The kit: http://www.ebay.com/itm/RODE-VideoMic-Pro-Microphone-Booming-Kit-1-Boom-Deadcat-and-25-Cable-/160879124199?pt=US_Pro_Audio_Microphones&hash=item2575249ee7

Zoom h1: http://www.bhphotovideo.com/c/product/699403-REG/Zoom_H1_H1_Ultra_Portable_Digital_Audio.html

Lighting: There are a lot of guide's out there for DIY light kits. I would look into that, you should be able to build a 3 point light kit for under 100$ from your local hardware store. Also, for 25$ this LED light is great, however it is not a substitute for 3 point lighting.

LED: http://www.amazon.com/NEEWER%C2%AE-Dimmable-Digital-Camcorder-Panasonic/dp/B004TJ6JH6/ref=sr_1_1?ie=UTF8&qid=1411574797&sr=8-1&keywords=neewer+160+led+cn-160

I've been very happy with Sennheiser's mics which always get excellent audio.

If you ever need to get good audio and can't use the external recorder, a great but cheap mic that goes straight into your DSLR (via mini-jack) is the Audio-Technica ATR-6550. It makes for a great combination of low price and good quality.

I bought one on amazon for $70, it was very wobbly and not very steady. I did get good at making it steady and practicing my skills with handling the system. (http://www.amazon.com/Neewer-Handheld-Stabilizer-Release-Cameras/dp/B00NJKJ1IA/ref=sr_1_1?s=photo&ie=UTF8&qid=1452087283&sr=1-1&keywords=steadicam)

I just upgraded to a Glidecam HD4000 and holy crap I should have gone for this gem instead of buying the $70 version. It's amazingly stable.

Don't think that just because you get a steadicam/glidecam it will give you amazing footage instantly, it does take practice to start getting good at it.

Like people say, "buy cheap, buy again"

I got my HD4000 on Craigslist for $240 which is even less than the HD2000, if you live in a bigger city odds are their might be a Glidecam on the market. Ebay has good deals on used ones too, and the HD2000 might be within your budget depending on what camera you are using.

Hope this helps

> one thing I've learned from by cheap gear is, it breaks and it's not worth it

This is the truth. I've wasted more money on cheap gear than I would have spent buying quality gear in the first place.

• the least expensive tripod you can get that isn't junk is the [$250CDN Ravelli AVTP Professional] (http://www.amazon.ca/gp/product/B00139W0XM/ref=as_li_ss_tl?ie=UTF8&camp=15121&creative=390961&creativeASIN=B00139W0XM&linkCode=as2&tag=hybrcamerevo-20). It will give you smooth tilts and pans and is built like a tank and will last forever. I own this tripod and highly recommend it.
  
  
• get a [Rode Videomic for $200CDN] (http://www.amazon.ca/gp/product/B00CAE8PM4/ref=as_li_ss_tl?ie=UTF8&camp=15121&creative=390961&creativeASIN=B00CAE8PM4&linkCode=as2&tag=hybrcamerevo-20) - great sound quality for the price - and the new Rycote Lyre shock mount has eliminated the flimsy (and noisy) shock mount on the original Videomic.
  
  
• after you shoot for a while with the kit lens and your 50mm, you will know what lenses to get. My guess is that you'll need something wider and faster (e.g., the [$680CDN Tokina 11-16 f2.8] (http://www.amazon.ca/gp/product/B00E5N765U/ref=as_li_ss_tl?ie=UTF8&camp=15121&creative=390961&creativeASIN=B00E5N765U&linkCode=as2&tag=hybrcamerevo-20))
  
  
• for lighting, I recommend you invest in a [$279CDN F&V ring light] (http://www.amazon.ca/gp/product/B00AY0J4OY/ref=as_li_ss_tl?ie=UTF8&camp=15121&creative=390961&creativeASIN=B00AY0J4OY&linkCode=as2&tag=hybrcamerevo-20), put it on a light stand and shoot through it. At some point in the future you can buy a rail mount and put it on your camera rig. Ring lights make your subject look good, are compact, run cool and they are enormously flexible. You can even turn them into soft boxes. I own this light and it has been a great investment.
  
  Yes, if you add it all up, it's a lot of money - but you will spend less in the long run.
  
  Good luck!
  
  

I got this one on amazon for about $120 for a C100. Looks like it's not available anymore on amazon, but it can hold up to 27 lbs and is an amazing value for the quality. It's a great tripod.

While I can't get too in detail about specific microphones cause I've only used crap ones, I can tell you that a mic isn't going to do crap for you without a recording device. And with that I gotta recommend the H4N Zoom. It's a small recorder that's about the size of a graphing calculator that can also be used as it's own mic with great sound quality. You can hook up some headphones and an external mic to it and just use it as an audio recording device, or depending on what kind of camera you have (DLSR for instance), you can attach it to your camera as it's own little camera mic. It's very easy to use and I highly recommend it. Even if you think it's a little on the pricier side, it's worth it. Save up. It will last and it's an awesome tool.

http://www.amazon.com/Zoom-ZH4N-Portable-Digital-Recorder/dp/B001QWBM62

It's really got nothing to do with the camera you're using. It's about lighting.

Light the scene to your and then add one or two flicker gags -- essentially, have someone dim the light up and down to simulate the flicker of a candle (it can be your key or an additional light or whatever, but use your eye to find what's most effective).

For bigger budgets there are plenty of "flicker boxes" that you can plug the lights into that will automatically do the dimming, but I've seen it done the simple hand dimmer way hundreds of times.

This book is your best friend:
http://www.amazon.com/Set-Lighting-Technicians-Handbook-Fourth/dp/0240810759/ref=dp_ob_title_bk

the t4i and t5i will look almost exactly the same as your t3i. Take your $1300 and get a nice lens or two. This is a great low cost lens: http://www.amazon.com/Canon-50mm-1-8-Camera-Lens/dp/B00007E7JU
This is one of my favorite lenses, maybe consider getting it used: http://www.amazon.com/Canon-16-35mm-2-8L-Ultra-Angle/dp/B000NP46K2/ref=sr_sp-atf_image_1_1?s=electronics&ie=UTF8&qid=1381557947&sr=1-1&keywords=canon16-35mm
This is a better version of the first lens, i love this lens: http://www.amazon.com/Canon-Standard-Medium-Telephoto-Cameras/dp/B00009XVCZ/ref=sr_sp-atf_image_1_1?s=electronics&ie=UTF8&qid=1381558003&sr=1-1&keywords=canon50+1.4

Hey man. I agree with you on the 'more meaningful way' bit. I definitely got heated. Might have something to do with sleep deprivation and the marathon of HIMYM I'm currently on.

Regardless, excuses aside. Sorry man, shouldn't have been that harsh.

I would LOVE to go into detail about every single one of your shots and what I would've done and what I thought needed work. But to be honest. It's all subjective. It's an art. You might like something that I hate.

THAT BEING SAID, there are some basics you should really avoid. And there are are things you need to learn in order to accurately pull that idea out of your head and successfully get it into film.

Instead of yelling at you. I'm gonna gather up some resources for you that I really hope you take the time to learn from.

Now, you asked to see some of my work. Linking you stuff would just throw away the point of the 'throwaway' account since my first comment was so god damn harsh and to the point. Now I stated that

"You wasted 2:45 seconds. A lot of short films can make a grown man weep in that time"

I would just like to show you an example of what 2:42 seconds can do.

Here's the list:

QUICK VIDEOZ UP IN DIS BITCH:

Hands on lecture about Cinematography


Get out of AUTO mode! Some quick tips on shooting with a DSLR. I assume you're using a DSLR because that's what I started with. Regardless of camera this is great advice to start with

Wise words from my man Kevin Smith on independent filmmaking

Intro lecture on pre-production, script writing, and filmmaking in general

More DSLR tips and tricks


READING MATERIALS YO, READ DIS SHIT:

http://www.amazon.ca/The-Filmmakers-Eye-Cinematic-Composition/dp/0240812174

http://www.amazon.ca/The-Filmmakers-Handbook-Comprehensive-Digital/dp/0452297281



Now I understand if you can't afford to buy the books. When I was in highschool I was lucky enough to be able to beg my friends to borrow their camcorders in order to film my shorts. It's how I got started.

That being said I don't want to break rule #2 of this subreddit that I fucking love.

THAT BEING SAID.

LET'S JUST SAY.... THAT A CERTAIN BEARDED PIRATE.... IS CHILLING AT A CERTAIN BAY... AND IF YOU JUST GO TO HIM AND SAY THE WORDS "The Filmmaker" I'M SURE HE COULD HOOK A BROTHA UP WITH SOME OF DEM KNOWLEDGE PAPERS YA DIG?


Anyways brother/sister. I'm sorry about being harsh on your film. I wish you the best of luck in the future. All the stuff I've thrown your way you don't have to go through it all in one sitting. Just delve into some of them on your freetime every now and then.

Peace bitch. (I mean bitch in the nicestest most Aaron Paul way possible)

I'd start with a title page. Then "FADE IN:" in the top of the second page. Follow by a Scene header like this;
INT - MIKE'S ROOM - DAY


Joking aside I'd probably look into some scriptwriting books for inspiration and help on how to write a script and follow a basic act structure. Foundations of script writing is a good one to start:

https://www.amazon.com/Screenplay-Foundations-Screenwriting-Syd-Field/dp/0385339038


I'd also look into writer's groups in your area or network with other writers so they can help workshop your script with you.

Definitely read "The 5 C's of Cinematography" before anything else. http://www.amazon.com/Five-Cs-Cinematography-Picture-Techniques/dp/187950541X/ref=sr_1_1?s=books&ie=UTF8&qid=1367884793&sr=1-1&keywords=5+c%27s+of+cinematography

I love "New Cinematographers" which has been a very inspiring book for me as it reminded me why I love working in the film industry at a time when I was contemplating quitting altogether. http://www.amazon.com/New-Cinematographers-Alex-Ballinger/dp/1856693341

The Eye is Quicker. http://www.amazon.com/Eye-Quicker-Editing-Making-Better/dp/0941188841/ref=sr_1_1?s=books&ie=UTF8&qid=1367884818&sr=1-1&keywords=the+eye+is+quicker

Motion Picture and Video Lighting. http://www.amazon.com/Motion-Picture-Video-Lighting-Blain/dp/0240807634/ref=sr_1_4?s=books&ie=UTF8&qid=1367884852&sr=1-4&keywords=grip+and+lighting

The Camera Assistant's Manual by David Elkins. http://www.amazon.com/Camera-Assistants-Manual-David-Elkins/dp/0240818687/ref=sr_1_1?s=books&ie=UTF8&qid=1367884939&sr=1-1&keywords=camera+assistant

The film look can definitely be achieved in post. If you want to get started on a budget, I highly recommend the Blackmagic Pocket Cinema Camera or the Blackmagic Micro Cinema Camera. You'll learn lots about light, exposures, lenses and all the stuff that you'll need to know for film. In post, you can apply LUT's and learn about color correction and it's definitely possible to get your footage to look like film. You can also use vintage film lenses from ebay and other places that really adds to the "look" of a final project. You can also get an anamorphic lens for the true "cinema" look.

​

My favorite filmmaking book is still Robert Rodriquez' book Rebel Without a Crew.

I'd just like to point out that I'm not a film maker in any way shape or form so it would be nice if somebody could verify what I'm about to say.

I've been watching a lot of videos by FilmmakerIQ.com on Vimeo and have learned a lot from them. Anyway, they have a list of recommended books that I haven't checked out yet but would like to. I'll just list them out here:

Painting With Light

Save The Cat! The Last Book on Screenwriting You'll Ever Need

The Hollywood Standard: The Complete and Authoritative Guide to Script Format and Style (Hollywood Standard: The Complete & Authoritative Guide to)

Set Lighting Technician's Handbook: Film Lighting Equipment, Practice, and Electrical Distribution

Master Shots: 100 Advanced Camera Techniques to Get an Expensive Look on Your Low-Budget Movie

Cinematography: Theory and Practice: Image Making for Cinematographers and Directors

The Camera Assistant's Manual

The Makeup Artist Handbook: Techniques for Film, Television, Photography, and Theatre

Special Makeup Effects for Stage and Screen: Making and Applying Prosthetics

Grammar of the Shot (Media Manuals)

Rebel without a Crew: Or How a 23-Year-Old Filmmaker With $7,000 Became a Hollywood Player

Cinematic Storytelling: The 100 Most Powerful Film Conventions Every Filmmaker Must Know

The Five C's of Cinematography: Motion Picture Filming Techniques

Yep, LED lights are your best bet- they are small last long on battery power, do not emit heat, and depending on the one you get they can come with a temperature(as in color temperature- blue and yellow) dial as well as a dimmer dial. Something like these:

http://www.amazon.com/Dimmable-Digital-Camcorder-Panasonic-Samsung/dp/B004TJ6JH6/ref=sr_1_2?ie=UTF8&qid=1346276906&sr=8-2&keywords=camera+light

First I would get a 10 dollar bag of reflectors though- use them the right way and they are more valuable than a light.

http://www.amazon.com/NEEWER%C2%AE-60CM-Light-Collapsible-Reflector/dp/B004ATJDVY/ref=sr_1_4?s=electronics&ie=UTF8&qid=1346277225&sr=1-4&keywords=light+reflectors

EDIT: Sorry I'm kinda lazy and didn't shorten the link these better

T3i's can be purchased for 400 to 500 bucks or so. You can find them cheaper on eBay or Craigslist perhaps.

For audio, you have a few options. People really like the Zoom H4N. I have a Tascam 60d that is a bit cheaper new, and works fine (although it eats batteries).

Rode makes some good sub $200 mics that all work fine .

If you need a tripod, don't go too fancy (unless you need fancy). You can get a good new tripod for $40 at Walmart or try Goodwill and get a good cheap one for $4. ( I got a $120 tripod there yesterday for $4)

For the first year of filming corporate videos, I just used hardware store can lights. They cost about $6 each. You can clip them to just about anything, or put them on light stands. You can find light stands for cheap on eBay, or you can do what I did, and use thrift store tripods (3 bucks each) as light stands.

All of that would put you at about $1000

Definitely read a book on screenwriting. Personally one of my favorites is Screenplay : The Foundations of Screenwriting by Syd Field. Would definitely recommend reading it, then reading it again - it's a great starting point for the writing process (and for $10 you really can't beat it).

I have the Neewer CN-160 which are LED fixtures for only $27.95 on Amazon. Of course these are cheap and have a color cast. They do, however, operate off of NP-F550 batteries so if you plan on filming on a location without wall outputs, you can easily use these. Although, just as HybridCamRev said, The F&V R-300 Ring Lights are great options but more expensive. They're brighter and can hang right over the lens of your camera or off on a light stand. These are great because you only need one to evenly lite your subject (in this case, yourself). It all just depends on your budget.

In the Blink of an Eye is pretty much the definitive book on editing. It's written by Walter Murch, one of the best picture editors out there-- he did Apocalypse Now, The English Patient, and so many great films. It's a fairly short book-- very easy to read-- and I highly recommend checking it out.

I believe it's this model. Thanks for the complement, I'm glad you enjoyed them. I think I've read a quote from that Ira Glass video before. It's an awesome point.

I keep suggesting this seller off of Ebay for the shoulder rig. I recently picked up this item from them, and all I can say is; this was the best cheap purchase I have made in regards to my filming gear. I did have to buy a couple of additional items to make it completely suit my needs, but overall I still saved a LOT of money compared to anything I could have bought off of Amazon or other film gear sites. At the moment I don't need a great matte, the cheesy one that comes with this rig works fine for blocking light.

For follow focus I went with the 50-Dollar Follow Focus from Hondo Garage. I like it a lot, but it doesn't seem to be for everyone. The price also goes up if you buy the larger lens upgrade, which gives you a longer belt and a bigger wheel.

This light panel is plenty bright for anything indoor or anything outdoor that isn't in direct sunlight.

As for mic and mixer, I bought the Tamron DR-40 4 channel mixer, and the Rode NTG2 Shotgun mic. I went with the Tamron because it was $100 dollars cheaper than the Zoom H4N (equivalent mixer) and it was mentioned on several reviews to have a cleaner sounding preamp.

I have a Canon 60D so I don't need CF cards and my tripod is generic and gets the job done.

Panasonic's AF100 is a decent upgrade to a full fledged digital video camera from a DSLR that a lot of people use for documentary work. The main problem with it is that there isn't a wide selection of lenses, but that issue shouldn't affect documentary work.

If you want to record sound separately to a digital recorder and then sync it with footage in post, a cheap and good digital recorder is the Zoom H4N. It has everything you need in a mini-field digital recorder - line in and XLR in. That and a set of wireless mics will give you great audio from your interviews. However, if you're going to be using the AF100 you do have the option of recording sound directly to the camera and skipping the post-sync process. It's a preference thing...it's more convenient to record directly to the camera but recording separately gives you more options in post and flexibility in sound design.

Where do you live?

If you want to do it, just try and get a job working as a PA on student films or something shooting in your area. You don't need experience, you don't need a degree, and the hardest part will be getting that first job.

I've seen too many of my friends in the business crippled by student loans that were unnecessary and actually counterproductive to their success. The people the did the best in the industry now actually dropped out of school 2 or 3 years in because they saw school was getting in the way of the work they were getting.

I hope you like reading, because while you're trying to get a job you should read these books.

Five C's of Cinematography
(http://www.amazon.com/The-Five-Cs-Cinematography-Techniques/dp/187950541X)

Set Lighting Technicians Handbook
http://www.amazon.com/Set-Lighting-Technicians-Handbook-Distribution/dp/0240810759

Camera Assistants Handbook
http://www.amazon.com/The-Camera-Assistant-Complete-Professional/dp/0240800427

Placing Shadows
http://www.amazon.com/Placing-Shadows-Lighting-Techniques-Production/dp/0240806611

Then watch these DVD's - They're expensive, look for them on eBay or used or something.
http://www.hollywoodcamerawork.com/mc_index.html

Have you made a movie before? If not, start churning them out. They don't have to be good, you just have to finish them. Believe it or not it is quantity, not quality, as the first few movies are going to be filled with the most stupid terrible mistakes you'll ever make, mistakes that will totally prevent you from telling a bearable story.

So if you combine all these...you look for a job, you start working as a PA, you read whatever you can get your hands on, especially those books listed, and you start shooting your own movies and applying what you learn from books and work to those films, you'll be in great shape.

I really like rode video mic (see link below). I use it as a backup when shooting interviews with a dslr and h4n. It will be great to use until you get an extern recorder like a h4n. Then when you get the zoom it it a great on camera backup Incase you screw up the audio with the external recorder.

https://www.amazon.com/Rode-VideoMic-Compact-VMP-Microphone/dp/B004K8WPUQ

That podcasting kit looks very cool too! Have you got a link to the Reddit post you made about it? (I tried looking for it but I think it might have been some time ago).

I'm trying to put together some podcasting kit myself (low-budget, 2-person interview-style, but must be ultra-lightweight/portable as remote outdoor locations), so I'll ask some offtopic q's here anyway!

• Do you ever use the H4n without mics? (ie only onboard)
  
• No headphones? No mixing-board?
  
• Is there much there you could leave out if you were trying to get a just-the-essentials podcast kit? (but still podcast-quality audio)
  
• Can you tell me more about your cabling choices? ie you mentioned 3.5mm cabling...
  
• How do you like Shoutcast? (Suitable for podcast-noobs like me?!)
  
• With what you know now, If you were going to buy for a setup today would you change anything?
  
• I'd be interested to see another pic with your current mobile setup?!
  
  For field recording I was thinking maybe the Zoom H2n with a few simple Audio-Technica ATR-3350 Lavalier mics, and just switching to a better studio-mic if nearer civilization... any thoughts appreciated?!
  

What area do you want to focus on? Film theory or production? There are a lot of good books on both, and it my opinion that you should brush up on both. But, you don't necessarily need books on either as there are plenty of on-line resources on both. But here are some good books for beginning film making.

http://www.amazon.com/Looking-Movies-Introduction-Film-4th/dp/0393913023/ref=sr_1_1?s=books&ie=UTF8&qid=1372746403&sr=1-1&keywords=looking+at+movies+4th+edition

You can find better prices by getting earlier editions of the book. These are all books that I've had in film school and you can learn a lot from them.

http://www.amazon.com/Film-Art-Introduction-David-Bordwell/dp/0078007879/ref=sr_1_1?s=books&ie=UTF8&qid=1372746555&sr=1-1&keywords=film+art+an+introduction

http://www.amazon.com/Filmmakers-Handbook-Comprehensive-Guide-Digital/dp/0452297281/ref=sr_1_1?s=books&ie=UTF8&qid=1372746624&sr=1-1&keywords=the+filmmakers+handbook

But check out http://vimeo.com/videoschool

I hope this helps.

Hooboy. If you pull this off make sure you write a screenplay about it.

Okay, so we'd all be here for weeks trying to teach you everything you need to know. Google tutorials on your 5D, on your lenses, on the GoPros, whatever. You need to know those the most first. If you're shooting the "making of" of the commercial, you're probably not going to be using your own lights except for when you're shooting interviews, so look up lighting techniques on lighting interviews.

Read this book. It's massive. It's a text book, but it's a great book to learn from. You aren't going to be able to read the book in a week, so focus on the chapters about cameras and lenses and such. Read the rest before you accept any other jobs.

Honestly, man, my conservative mind is saying to see if it isn't too late to turn the job down. Just say something comes up and you won't be able to make it. If you screw this up, then it may be a bigger humiliation than just backing out.

My liberal mind says get used to coffee and don't sleep until this shoot is done. I'm still in amateur status myself, so I get the whole you gotta start somewhere thing. Learn everything you can through google and that book if you can swing 1 day shipping and just keep it BASIC. Don't try anything fancy or shit.

Good luck.

Sorry I'm such a newb, but will this mic work? with this adapter? the guy in this video seemed to imply it would work. It looks like the cable is somewhat short, are there any work arounds for that? Sorry for all the questions, I hope someone here can offer some answers. Thanks!

I've used flashlights before, big ol' mag lights (the kinds cop use) can be effective.

http://youtu.be/1LPr0qFTebo

The lighting set up for that was a mag-light through a shoot through umbrella just out of frame (maybe 4 feet away?) and a second light on top of the hood of a car maybe 5-10 feet camera left to the side of the talent. I don't think we even had to crank the ISO too much on that. Maybe 640. I don't have an HD copy of that file anymore.

In more recent times I've used this:
http://www.amazon.com/Neewer%C2%AE-CN-160-camera-video-light/dp/B004TJ6JH6/ref=sr_1_1?ie=UTF8&qid=1377727985&sr=8-1&keywords=LED+Video+Light+160

Careful with this though, as the battery drains the lights get dimmer, which isn't noticeable until it's too late. Be sure to check shots and change out batteries frequently.

That gives a look like this when used on camera, around 3-5 feet away from the talent.
http://youtu.be/hCxm_rBElU8

If you had a few of these, and kept things mostly tight you can probably get away with it.

I'm a downhill skateboarder and a few of my friends use a DJI Ronin stabilizer to ride along with other riders and film. Unfortunately there aren't many gimbal stabilizers that are under $200 that would be useful for riding along and filming. However, you could get a simple scorpion grip that would serve the same purpose, though not with gimbal level stability.

If you're not going to be riding along with them and instead will be standing and filming while the riders go by, you could get one of these. A friend of mine has one and the footage looks great.

someone listed a bunch of titles ive read/bought for school a few comments up. try asking around some colleges for students looking to sell back their books after finals!

EDIT: i feel bad for not posting any actual titles i had. this book was awesome, very enlightening. all interview transcripts of steven spielberg regarding movies, various points in time. http://www.amazon.com/Steven-Spielberg-Interviews-Conversations-Filmmakers/dp/157806113X

I bought bruce blocks book before i got into film school, read it, highlighted it while waiting for flights, etc. then, sure enough, one of my teachers assigned the book to us. i felt like a king!
http://www.amazon.com/The-Visual-Story-Creating-Structure/dp/0240807790

same situation with blain browns book. except he eventually taught one of my classes. :P slightly different subject, but it was cool having read a book, then not only meeting the author, but taking his class. :)
http://smile.amazon.com/Cinematography-Theory-Practice-Cinematographers-Directors/dp/0240812093/ref=sr_1_55?s=books&ie=UTF8&qid=1425434291&sr=1-55&keywords=visual+storytelling

Rebel Without a Crew by Robert Rodriguez is pretty great.

Not as film related bur more related to the artistic process is Art and Fear. I highly recommend this to everybody I talk about art with. It's a great book to take notes in and destroy with highlighters.

Here are some links for the product in the above comment for different countries:

Amazon Smile Link: zoom


|Country|Link|Charity Links|
|:-----------|:------------|:------------|
|USA|smile.amazon.com|EFF|
|UK|www.amazon.co.uk|Macmillan|
|Spain|www.amazon.es||
|France|www.amazon.fr||
|Germany|www.amazon.de||
|Japan|www.amazon.co.jp||
|Canada|www.amazon.ca||
|Italy|www.amazon.it||
|India|www.amazon.in||




To help donate money to charity, please have a look at this thread.

This bot is currently in testing so let me know what you think by voting (or commenting). The thread for feature requests can be found here.

Overall that gives you better options. Just be aware that the NTG-2 is going to get in the way mounted to your machine. You'll have cables all over the place getting in your way while you're trying to set up a nice shot, it won't be in an ideal position, you won't get the best quality sound.

My suggestion is, if this is like a sit-down interview thing, to get some sort of stand to mount the NTG2 on in the proper boom mike position, and connect that to the 60D, and get something like this: http://www.amazon.com/dp/B002HJ9PTO/ref=wl_it_dp_o_pC_nS_ttl?_encoding=UTF8&colid=FTI8OFGCX48K&coliid=I425Y4KS8J4T7 and put that on your interview subject and hide the cable as it runs to your 60D. Put the boom on Track 1 and the lav on Track 2. Then mix it all the way you want to later.

If this is a run-and-gun shoulder rig fly-on-the-wall thing the 60D and NTG2 are going to be a terrible bother. That's why the VMP is great for when you are just going off the cuff, improvising, fly on the wall type stuff. But the NTG2 is just way cumbersome when attached to camera, especially if you use a shockmount (and you need to because just attaching the mic clip to the cam is going to make for lots of handling noise).

Without knowing your setup and your goals I can't tell you to do one or the other for you, I can merely tell you how each piece functions and you can make the call for yourself. :)

Read "In the Blink of an Eye". Inspiring and quite brilliant short read that presents a foundation to thinking like an editor.

Less than $10 on Amazon.
http://www.amazon.com/gp/aw/d/1879505622/ref=redir_mdp_mobile

French reverses are often dictated by the schedule, or the geography of a pracitcal location.

To save the time expense of a regular reverse (for instance during a conversation), in a french reverse involves shooting the actors on the same background, being sure to give them the opposite eyeline direction, so when the shots are edited together the actors appear to be across from each other, looking at each other.

It can also be done in a practical location when there's only an interesting background in one direction. For instance, on a TV series last year, we shot a french reverse in a scene shot at night on the roof of a parkade in a canyon of highrises. One direction gave an appealing background of glass towers lit up at night. In the other direction, we had the parkade's concrete walls. So, having shot a master favouring the highrise background, we shot coverage looking the same direction to give the appearance that the parkade was surrounded by glass towers.

Film Directing Shot by Shot (http://www.amazon.ca/Film-Directing-Shot-Visualizing-Concept/dp/0941188108/ref=sr_1_1?s=books&ie=UTF8&qid=1376630391&sr=1-1&keywords=film+directing+shot+by+shot) and Directing by Michael Rabinger (http://www.amazon.ca/Directing-Techniques-Aesthetics-Michael-Rabiger/dp/0240818458/ref=sr_1_1?s=books&ie=UTF8&qid=1376630444&sr=1-1) both have, as I recall, info on the french reverse.

Re: Eos M... I'll go and Google, but thought I'd get your thoughts too if that's OK :)

• vs the T2i/T3i, are there any downsides? (There must be reasons why this camera is never mentioned as a beginner cam!)
  
• does the EF to EF M adapter have any downside or problems? (eg will a EF Nifty-Fifty make exactly the same video? Does it change the crop/FOV/DOF/whatever? Will lenses Image-stabilization work?))
  
• are there any particular recommended EF-M lenses that are recommended as a starter kit? (or just go straight to the adapter?)
  
• Is shooting RAW video hampered in any way?