Filmmaking / Directing : Camera Preference by Everett Hood

RED or ALEXA.. industry standard!

https://www.indiewire.com/2019/01/sundance-2019-camera-lens-report-arri-...

No pros and cons. Just story, budget and artistry.

For what end use? Theatrical distribution, festival use... Basically I've always been a fan of big RED although I'm not sure of the new WEAPON yet. ALEXA haas gone a little squirrely on me in the past - but that may have been a case of operator error. The only 'cons' I see with these cameras is that they are pretty costly and they produce some really BIG files for editing. For the festival circuit, I like the 4K mirrorless (Nikon, Canon, Sony) - I live & die in the manual mode. The pros here are the lower cost, the availability of glass and the ease of use. I've seen some pretty good stuff come out of 'em.

The entry level 2K DSLRs have been around for quite some time now and have proven themselves on the festival circuit - they're cheap, easy and not bad.

You're talking high quality, so I'd stick with the RED or ALEXA.

I've almost always used the RED, but the ARRI ALEXA is a WONDERFUL CAMERA, as well. Any of the RED CAMERAS, the EPIC, SCARLET or DRAGON will work well in low light. Ben is right, they are the industry standard, if you're not shooting on film and most productions don't. Usually, you find a quality D.P. who is experienced with a nice IMDb page that owns one of these cameras. You kill two birds with one stone.

There can be no useful blanket answer. Every project has a distribution parameter that must be accommodated; once that is defined producers work backwards with the hired DP and Director to define the style and technical needs that fit a budget, schedule, and crew. This will inform the camera selection. Many people do the opposite; read the brand popularity murmurings and seek a DP who owns XYZ camera, then determine how to make that DP and camera combo execute the intended result. If the DP is green and cheap, of course he will prefer his camera. He has payments. Not a great way to choose tools. My humble opinion, based on 40 years in the viewfinder for $ (OK not so humble).

Thanks everyone for taking the time to submit you input suggestions. I greatly appreciate this community. I'm screenwriting, but kicked around the idea of trying to film it myself, although I would be the ultimate novice at that.

Just dreaming a bit.

So for a screenwriter, how difficult would it be for me to learn to shoot my own film? I'm can be a bit of a perfectionist and just wonder if I should spend the time away from writing to learn or just partner with those who do. Input greatly appreciated.

I listen to my DP. That's the only one whose opinion is interesting. And frankly, anyone enamored of technology over story probably cannot relate to that.

Anyone can shoot. All crafts are journey, not a destination. Try shooting and you will find it like playing guitar; easy to appreciate and not terribly difficult to deconstruct or understand in principle. Doing it effectively and to an end that works may be little bit harder. But the same can be said about DPs becoming writers.

Everett Hood Cinematography is a craft. Much like screenwriting, the more you do it, the more you'll improve. Cameras are tools. It's the people who use these tools that matter. You could have the best gear but still come back with crappy images if you don't know how to use it. Learn everything you can about the craft and start shooting.

Everett, regardless of what anyone above me has to say, here's where I'm coming from: I'm coming from 15 films produced, including seven features. I'm coming from sitting in the directors chair twice, including a pair of features and one short that qualified for the Oscars. Now, that I've prequalified myself, it would be a HUGE MISTAKE for you to shoot your own project, be it short or feature. You are NOT a DP. Hire a talented DP. As for Royce's comments, I would NOT hire a DP, simply because of the camera - I still have to like their work. But, if they own a top-notch camera, that is a bonus. And, again, you shooting your own project will reflect the quality - or lack thereof - that most people will not care to sit through. Again, you are NOT a DP. You can't teach yourself in a day. As I say to everyone: WHY DON'T you hook up with an experienced Producer who has done this before, who can guide you? Who has connections to talented cinematographers? WHY go it alone and risk having something you will not be proud of afterward? You're only as good as the team around you. AND< that goes for everyone, myself included. It's a collaborative medium.

CORRECTION: I sat in the director's chair six times. *

Anyone can make a movie today -VERY few can make a good movie, regardless of the camera/equipment. Just start with what you got.

The camera is the least important thing in your production. It depends on a huge number of factors that your DP will work out depending on what's needed for the specific production.

To shoot high quality film I usually choose either; Panavision, the Millennium of a Platinum, or Arriflex , either the Arricam or the 535.

Everett don’t apologize for dreaming, its the very core of creativity. Judging by the responses, you are not alone in an imaginary world.

Shadow, thanks for being an experienced voice of reason. Pushing back against the impact of callous viral marketing and “internet wisdom” is pretty thankless.

Good morning JB, everybody. You asked for preference Everett, well, I personally love film, celluloid, that tried and true photochemical process that's been around for one hundred and twenty five years or so, whether its 35 mm or 16 mm it's got to be Kodak Motion Picture Film stock. For cameras? Has to be the PANAVISION Panaflex Platinum, ARRI Arriflex 435 Xtreme, ARRI Arriflex 416, ARRI Arriflex 16SR3. Of course we use digital cinema photography sparingly at DreamFactory Studios when called for on certain jobs.

An oldie but a goodie camera that still holds up these days. Aside from Panavision, Arri is the best. YouTube footage of the 16SR3

https://youtu.be/O_TbOrKWuvg

And the workhorse 435 Xtreme https://youtu.be/QVE_fN11FcQ

Kodak demo which the subject matter is a little romantic but you can learn subtle variations about film differences and terminology of Cinematography. https://youtu.be/lBd-OSJtc1Q