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Originally posted by MrFilmMaker
I need to buy my first cam, sadly my budget is very limited ($700) and I need to find the best cam to do following:
Have good enough quality to shoot a film that might be shown in overseas international fesitvals.

After research here .. I am thinking, Panasonic PV-GS300 or GS500. Would either be a good choice??

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With a budget of only $700 you don't really have another choice.

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Also, there might be a need to convert the film to 35mm is that possible?? If yes, how easy or complicated of a process would it be??

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Yes it's possible. There are many labs that do it. Obviously the better the image the better the transfer. Converting to 35mm is one of the reasons why shooting 24p has a great advantage over standard DV. But there isn't a camera in the $700 range that shoots 24p.

If you KNOW you are going to convert to 35mm it's better to shoot on film (Super 16). If you can afford the transfer - usually about $400 per minute - you might want to use a better video camera. The JVC HD110U, the Panasonic HVX200, the Sony HVR-V1.

If transferring to 35mm is just something you THINK will happen and you can't afford anything else, then use the GS-300 or 500 - light it well, get great sound and start submitting to festivals. You might want to research and pick a lab to do the transfer and have them advise you on how to get the best DV picture for their needs.

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

Thanks for your detailed answers.

$400 per minute .. WOW!!

The only reason I said transfare to 35mm is because it is only method of showing movie in theaters .. right?? As far as I can tell, 95% of theaters still use the 35mm projectors (which makes no sense given the advantages of digital projectors)

Is there a way to avoid transfare to 35mm and still show in theater?

With the Panasonic GS300 what would you recommend for type of mic for sound and what type of light? 75% of filming is indoors (half will be at public places :cafes/Resturants?Trainand rest ourdoors.

Any movie examples that were filmed with MiniDV cameras and went on to be played in theater?

Again, thanks in advance for the great advise.

$400 minute is definitely alot, but miniDV to 35mm is close to $1000 per minute of footage.

quote:

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Originally posted by MrFilmMaker

Thanks for your detailed answers.

$400 per minute .. WOW!!

The only reason I said transfare to 35mm is because it is only method of showing movie in theaters .. right?? As far as I can tell, 95% of theaters still use the 35mm projectors (which makes no sense given the advantages of digital projectors)

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In the US that nimber is changing rapidly. I read recently that 70% of movie theaters are equipped with digital projection - and the number is going up.

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Is there a way to avoid transfare to 35mm and still show in theater?

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Yes. Use digital projection.

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With the Panasonic GS300 what would you recommend for type of mic for sound and what type of light? 75% of filming is indoors (half will be at public places :cafes/Resturants?Trainand rest ourdoors.

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There are three main suppliers of shotgun mics:

?url? http://www.sennheiserusa.com/newsite/?/url?
Sennheiser is the mic most used by professional sound recordists. They are expensive and worth it. Check out the ME-66 and the ME-67.

?url? http://www.audio-technica.com/?/url?
Audio-Technica makes great mic?s and they?re cheaper. Check out the AT835b.

?url? http://www.azdencorp.com/?/url?
I?ve never used Azden mic?s. They?re inexpensive but I?ve don?t hear too many good things about them.

A good mic is an investment. It will last longer than your camera - why skimp?

Use the best lighting you can. Lowel makes nice kits. Tungsten lights with stands, barndoors and hard case. You can also check Arri lights - more expensive and worth every penny. Not the Lowel kits are bad - I have a 6 light kit with the Omni?s and Tota?s that I bought new in 1990 and am still using it 16 years later.

For a nice beginning light kit I recommend:
A couple of work light with stands from any home improvement store.
Five or six ?scoop lights? - those clamp on work light with the silver reflector.
Three or four pieces of foamcore from any art supply store to use to bounce the light.
Two or three paper lanterns that you can get at Ikea. I hook each one to a dimmer (home improvement store again) to get better control.
Some colored gels (check on line or if there is a small theater in your town they often have extras) and some black wrap. Check ?url? http://www.studiodepot.com/store/?/url?

And then practice, practice, practice. Learning how to light well takes a lot of time.

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Any movie examples that were filmed with MiniDV cameras and went on to be played in theater?

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FILM: Inland Empire
DIRECTOR: David Lynch
DISTRIBUTOR: Studio Canal
PLAYDATES: December 2006
FORMAT/CAMERA: Sony PD-150
TRANSFER: FotoKem Film and Video

FILM: Open Water
DIRECTOR: Chris Kentis
DISTRIBUTOR: Lions Gate
PLAYDATES: August 2004
FORMAT/CAMERA: Sony PD-150

FILM: The Anniversary Party
DIRECTOR: Alan Cumming/Jennifer Jason Leigh
DISTRIBUTOR: Fine Line/Buena Vista
PLAYDATES: June 2001
FORMAT/CAMERA: Sony DSR-500

FILM: The Lost Skeleton of Cadavra
DIRECTOR: Larry Blamire
DISTRIBUTOR: TriStar Pictures
PLAYDATES: March 2004
FORMAT/CAMERA: Canon XL-1

FILM: 28 Days Later
DIRECTOR: Danny Boyle
DISTRIBUTOR: Fox Searchlight
PLAYDATES: June 3002
FORMAT/CAMERA: Canon XL-1S

FILM: Pieces of April
DIRECTOR: Peter Hegdes
DISTRIBUTOR: MGM/UA
PLAYDATES: October 2003
FORMAT/CAMERA: Sony PD-150
TRANSFER: Swiss Effects

FILM: Bamboozled
DIRECTOR: Spike Lee
DISTRIBUTOR: New Line
PLAYDATES: Opened theatrically October 6, 2000
FORMAT/CAMERA: Sony VX 1000 PAL
TRANSFER: Swiss Effects

FILM: Book Of Life
DIRECTOR: Hal Hartley
DISTRIBUTOR: Fox Lorber
FORMAT/CAMERA: VX1000 (NTSC)
TRANSFER: Sony High Definition Center

FILM: The Celebration
DIRECTOR: Thomas Vinterberg
DISTRIBUTOR: October Films
PLAYDATES: Opened theatrically Fall ?98
FORMAT/CAMERA: Sony PC7 PAL
TRANSFER: Lukkien

FILM: The Chateau
DIRECTOR: Jesse Peretz
DISTRIBUTOR: IFC Films
PLAYDATES: Opening theatrically Fall 2002
FORMAT/CAMERA: Sony TRV 900 PAL
TRANSFER: Swiss Effects

FILM: Chuck & Buck
DIRECTOR: Miguel Arteta
DISTRIBUTOR: Artisan
PLAYDATES: Opened theatrically July 2000
FORMAT/CAMERA: MiniDV - Sony VX1000 PAL
TRANSFER: Swiss Effects

FILM: The Cruise
DIRECTOR: Bennett Miller
DISTRIBUTOR: Artisan Entertainment
PLAYDATES: Opened theatrically Fall 1998
FORMAT/CAMERA: MiniDV - Sony VX1000 NTSC
TRANSFER: Sony High Definition Center

FILM: Everything Put Together
DIRECTOR: Marc Forster
DISTRIBUTOR: Vitagraph Films
PLAYDATES: Opened theatrically November 2001
FORMAT/CAMERA: MiniDV - Sony VX1000 PAL
TRANSFER: Swiss Effects
BUDGET: $500,000

FILM: Final
DIRECTOR: Campbell Scott
DISTRIBUTOR: Lion's Gate
FORMAT/CAMERA: MiniDV - Canon XL-1 PAL
PLAYDATES: Limited theatrically (5 screens) Jan 2002
TRANSFER: Tape House Digital
NOTES: InDigEnt?s first project
BUDGET: $80,000

FILM: Full Frontal
DIRECTOR: Steven Soderbergh
DISTRIBUTOR: Miramax
PLAYDATES: Opening theatrically Fall 2002
FORMAT/CAMERA: MiniDV ? Canon XL1s PAL
NOTES: Edited on Final Cut Pro
BUDGET: $2,000,000

FILM: Julien Donkey Boy
DIRECTOR: Harmony Korine
DISTRIBUTOR: Fine Line
PLAYDATES: Opened theatrically October 1999
FORMAT/CAMERA: MiniDV ? Canon XL1 PAL; 8 other cameras
TRANSFER: Swiss Effects

FILM: The Last Broadcast
DIRECTORS: Stephan Avalos & Lance Weiler
DISTRIBUTOR: Wavelength Releasing
PLAYDATES: Opened theatrically October 1998
FORMAT/CAMERA: MiniDV - VX1000 NTSC and other cameras
NOTES: Released via satellite to five cities simultaneously; also released via broadband by The Independent Film Channel; $900 budget

FILM: Time Code
DIRECTOR: Mike Figgis
DISTRIBUTOR: Screen Gems
PLAYDATES: Limited theatricla April 2000
FORMAT/CAMERA: Sony DSR-1
BUDGET: $4,000,000

FILM: In This World
DIRECTOR: Michael Winterbottom
DISTRIBUTOR: Lions Gate
PLAYDATES: Limited release Sept 2003
FORMAT/CAMERA: Sony PD150/Sony PC-9
BUDGET: $1,900,000

FILM: Supersize Me
DIRECTOR: Morgan Spurlock
DISTRIBUTOR: Samuel Goldwyn Films
PLAYDATES: Opened theatrically May 2004
FORMAT/CAMERA: Sony PD150
BUDGET: $300,000

FILM: Waterborne
DIRECTOR: Ben Rekhi
DISTRIBUTOR: MTI Home Video
PLAYDATES: Festival March 2005/DVD release Feb 2006
FORMAT/CAMERA: Panasonic DVX100s
BUDGET: $198,000

FILM: Lonesome Jim
DIRECTOR: Steve Buscemi
DISTRIBUTOR: InDigEnt - IFC Films
PLAYDATES: Opened theatrically March 2006
FORMAT/CAMERA: Panasonic DVX 100
BUDGET: $500,000

FILM: Party Monster
DIRECTOR: Fenton Bailey/Randy Barbato
DISTRIBUTOR: Strand Releasing
PLAYDATES: Opened theatrically September 2003
FORMAT/CAMERA: Canon XL-1

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Originally posted by mg440

$400 minute is definitely alot, but miniDV to 35mm is close to $1000 per minute of footage.

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The most recent quote I got from FotoKem in Los Angeles was $375 per minute. That's from SD miniDV to 35mm film. Swiss Effects was $425 and Sony was $400. All from September 2006.

I read in a book that was published only 5 years ago that it was close to 1k per minute. Has it really changed that much recently?

ok i think your talking about digital to film 35mm. well im considering shooing on 16mm. and i read on a lab site that its something like $3000 per 5min to convert to 35mm. but if you shoot 16mm it will be easier and cheaper to convert to 35mm then digital. check out 28days later and red eye thts wht they did but there budgets where like 3mill.

ok next question a digital camcorda for film should be a min of 3CCDs so XL1 pd150 etc. but a used one would be $2000. so with $700 ur screwed lol. sounds like ur young so just buy a cam shot shot shot then when ur older and got a job and ???? buy a good cam.

go to makingthefilm.net for bare min for wht u need to shoot a film. also with digital it will only go to dvd and vhs. shoot film it could go on screen has more selling points.

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Thanks certified instigator for the in depth answers. It certainly gives me all the info I need to start my project.

I have purchased the GS300 and the light kits suggested.

The mic I am going with the AT835b. Only question I have is, the output on mic is XLR-3M Type while the camera has standard 3.5mm input. Do you know what conversion I need to purchase for the AT835b mic to work on GS300 ??

Again, thank you very much for the in depth response.

gordon666: Thanks for the info and link. I am certainly aware of the limitations of the GS300. I had two choices, either buy a cam I can afford now and start shooting and gain experience or wait a couple of years till I have enough $$ to buy a semi pro one. I chose to start now and a couple of years from now when I am experienced enough, I can buy a prosumer cam and be able to fully utilize it.

The question I have, even with a pro MinDV cam, would you still not need to convert to 35mm and thus pay same high lab fees??

Thanks.

ok the gs300 i looked up on ebay has a 3.5 jack. there r 5 different connectors = 3.5mm mini jack, 1/4 jack, pphono, XLR (the best), digital signals.

With pro mic there all XLR so if on the mic its a cunky half a inch width its a XLR, and you need a XLR - 3.5mm jack, which might be rare and costs ?15. also you might need a XLR female to male head if it doesnt fit.

Stuff to look out for, if ur camcorda is low on batt the sound might ither not synic up or sound like its dying. Also helpful stuff is get the sound guy to wear ear phones. Also switch mobs off (i really hate this when ur editing and u hear the gay inturferiance of a mob).

Buy a book called "the guerilla film makers movie blueprint" its all down there. and will take u like 6 months to read lol.

No matter if your film is shot on 35mm or on 8mm or even hi8, if its gd the distrubaters will handle the costs of blow up. Bair Witch was made for $20k on 8mm and handheld cam and the distrubuters spent $500k on doing it up.

Just keep shooting! and Learn make everyone better then the last.

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Support indie horror films.
Over 30 how tos: FORUM