Welcome. I'm glad you found the guts to ask questions and contribute.

I agree; you have to start somewhere. What advice do you still need?
You've read the posts about cameras so you know about MY suggestions.
But I'd be glad to offer any more advice. You also know how other
members feel about cameras, so I think what you need to do is ask
specific questions. We'll all be happy to help out.

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The aim of an argument or discussion should not be victory, but progress.
Joseph Joubert, essayist (1754-1824)

Hi Charlie!

Since you know about photography already, then you know that a camera of any kind is basically just a box with a hole in it to let light through. Everything else that is part of the camera is there to help you control the image that gets captured.

So, I'd really like the filmmaking world to put away this idea that there are "beginner" cameras and "advanced" cameras. I suppose one could talk about cameras with AUTOMATIC everything as having training wheels to help the true amateur, but someone who is interested in making movies isn't likely to use something like that. It would be akin to Rembrandt using a Paint-by-Numbers book to learn how to paint.

With that in mind, as you consider which camera to get/use (read: buy or rent), think about what the end-goal is. If the movies are just going to be seen at home on your computer, then you don't need a camera that can give you the highest resolution images. If you want to project your movies someday, then you need the highest resolution you can get. It's likely that what you want/need right now lies somewhere in between.

So, first, look at factors like resolution and format. Understand that you are getting what you pay for, so no matter how much someone might say that their $5,000 camera is just as good as someone else's $60,000 camera, know that you don't get something for nothing. If the camera costs that little, then you're giving up something, and that "something" tends to be quality and usability.

In terms of quality, that image is likely undergoing some kind of compression or "cheat" to create an image that matches the marketing. This could be a camera that claims to be 24P when it really isn't (cameras sometimes use complex "pull down" formulas to achieve a "look")

In terms of usability, the "easier" a camera is to use, typically the harder it is to use. What I mean is that the less-expensive cameras tend to put just about all functions into their complex menu systems. So to do the simplest things, sometimes you have to dig into the menu to find it. Also, electronic focus lenses aren't ideal to do things like "rack focuses" (throw focus from one plane to another) effectively. Viewing the image on a cheaper smaller camera is typically more difficult than when using a more expensive professional camera. Iris and shutter settings are easily "bumped" on cheaper cameras. All the things that are very controllable and easy to manipulate on quality cameras become more difficult and potentially "messed up" on "beginner cameras."

Ideally, a "beginner camera" would have most or all of the functions easily accessible on the OUTSIDE of the camera just like old still film cameras used to have. It's not that you can't learn how to manipulate the image using one of these cheaper cameras, it's just that making changes quickly and assuredly isn't as easy as it is with "professional level" cameras.

It's a strange contradiction that the pro cameras are actually easier to use on the whole than so-called pro-sumer/beginner cameras, but I've found it to be the case.

So, look closely at the factors that you look at when you determine which still camera to buy. Format. Resolution. Lens. Lens control. Other image control, like shutter, frame rate, ASA. Ergonomics and other usability.

And by all means, buying ANY equipment is an EXPENSE, not necessarily an investment unless you plan to use your finished movies as a way to secure work OR if you plan to rent your equipment out to help pay for the cost of purchase AND maintenance. So, if you can't afford to BUY the camera (and the accessories you NEED to make it work), then just RENT equipment for the duration of the production schedule on a per film basis. The movie you make next month may require one type of camera while the one you want to make in April may require something else. Don't let the equipment you buy drive the kinds of movies you make. Instead, let your stories drive the rest of the project needs.

And like CI said, with more information about your intentions, we can hopefully help with more specifics.

Good luck!

Brian Dzyak
Cameraman/Author
IATSE Local 600, SOC
http://www.whatireallywanttodo.com
http://www.realfilmcareer.com