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Originally posted by ransu12

i am a writer about to venture in film. my plan is to document an around the world trip beginning in 2013. i am planning to have professional and student filmmaker collaborations along the way but need my own camera and basic knowledge for times when i am alone. i want to buy a camera now and begin learning the craft. my question is: what features should i insist on for quality production and still have a compact and lightweight design that i can carry on my back for two years? any suggestions?

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Well, the best thing to do is work backward in the process. So, the first question is, what is the final project for? Will it be broadcast on television? Will it be only for DVD distribution? Will the video footage be "filmed out" for projection in movie theaters? Is it only for the internet? Or is it only for your own enjoyment at home?

How you answer THAT question should be one of the main determining factors in which format you NEED TO shoot on. Once you determine format/quality needed for your intended distribution, then you consider other factors, like budget and ergonomics and necessary accessories. If you find a camera BODY that suits the format needs, does it also have the appropriate lens or lens variability that you'll need to capture whatever it is you wish to capture?

Another consideration is sound recording. Do you only need nat-sound of the environments you'll be in, meaning that the on-board mic should be adequate? Or do you intend to do interviews or have on camera "conversations" with people you meet? If that's the case, then the on-board mic will never be adequate which means you need some kind of wireless lav mic to put on your "talent." And your camera needs the capability to be able to plug that kind of mic in and control the levels. And maybe you need more than one RF wireless mic. Or maybe you need to put mics on people AND you need to boom an environment as well because you won't be able to get mics on your subjects. So in that case, you'd need a Sound Mixer/Boom operator who, again, will likely need to plug into your camera in a way that allows the Cameraman to do his job and the Sound Mixer to do his job but in a way that neither interferes with each other.

There is also the issue of lighting. Given the nature of what you're describing, you'll likely have to rely mostly on natural sunlight and/or practical lights, but there may be occasion when an on-board "sungun" will be extremely helpful.

Then there's the issue of how to hold all of this. For controlled shots (like beauty shots of scenery or very long lens shots) you'll want a quality tripod. Know that most inexpensive tripod are not very stable and their fluid heads do not provide very precision control. You get what you pay for, but if you need to keep it all lightweight, go in knowing that you won't get anything very high quality so compromises will have to be made.

If you want to just handhold the camera for most of your shots, understand that most pro-sumer cameras are not really designed to be used for very long by human-beings. The ergonomics of most little cameras is such that the camera has little to no stability unless you put the camera on a shoulder mount so that you gain stability the way the professionals do. Also, when using a shoulder mount, it provides a place to mount additional accessories, like wireless receivers (for sound). Otherwise, without the mount, the receivers have no place to live and you either have to tape them on to the bottom or side of the camera (which is not conducive to any type of operating) or you have to run cables to a belt pouch or the like, which again, isn't very comfortable nor provides a self-contained "camera unit."

As to your request for "quality production," that involves the chosen format (as discussed) and quality camera operating and quality lighting choices. And, almost above all else, the quality of your final soundtrack can make or break your project. Audiences are forgiving of a less than "perfect" picture, but if the sound is poor (hard to hear dialogue, "off mic" sound, poor quality recording, etc), then your project will be taken as amateurish no matter how wonderful your pictures are.

The format issue, as discussed above, should be driven by the final output requirements, NOT by your immediate budget. The operating and lighting elements cannot be learned in a day, so if you are just beginning and plan to shoot for two years, it's likely that your first attempts will be less than stellar, but experience will teach you how to make wiser choices when aiming the lens and choosing angles.

So, your basic question of "what's the best camera for me and my situation" doesn't have a straightforward answer. There is a veritable alphabet soup of camera makes and models, some of may which may be perfect for you and some which may be disastrous for you. But knowing which one is truly "best" for you and your situation depends on many different variables which only you know the answers for. If you have some of those answers that you can provide to this forum, that would be very helpful for those who may have suggestions and advice. I would also suggest that you post this question on the forums at www.cinematography.com which is frequented by motion-picture and video professionals, some of whom have done what you are planning to embark on.

Good luck!

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

thanks Brian, a lot of points i need to consider... i would hope for the final project to be broadcast on tv.

the plan is to circumnavigate the globe without air travel for as long as it takes, alternating reportage, travel, and work in local industries. for the major journalism projects that require research and planning, i will elect the help of experienced and equipped filmmakers. i will only need "my" camera for alone-time footage that fills in the gaps between the different projects and maintains the flow of the story of the overall trip. i initially imagined narrating over these sections in post-production, but as you point out, from time to time i may need to do an impromptu interview or "conversation" or two.

quote:

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Originally posted by ransu12

thanks Brian, a lot of points i need to consider... i would hope for the final project to be broadcast on tv.

the plan is to circumnavigate the globe without air travel for as long as it takes, alternating reportage, travel, and work in local industries. for the major journalism projects that require research and planning, i will elect the help of experienced and equipped filmmakers. i will only need "my" camera for alone-time footage that fills in the gaps between the different projects and maintains the flow of the story of the overall trip. i initially imagined narrating over these sections in post-production, but as you point out, from time to time i may need to do an impromptu interview or "conversation" or two.

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So if it's primarily for broadcast or cable, you need to think about what specific outlet(s) you wish to try to sell it to. Some of them have strict guidelines as to format/frame-rate specs so knowing those prior to committing to acquisition format is important.

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

The JVC HM100 should fit your needs.

I have edited three docs for a hiker who hiked the Appalachian and
Pacific Crest trails and a 16 month journey across the US on the
American Discovery Trail. He used the Canon GL2 on all three which
is just slightly larger than the JVC. I used the HM100 to shot some
of The Amazing Race.

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