quote:

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Originally posted by tbrownarcher

Since I see home videos on tv all the time I'm wondering why that it would be necessary to have the more expensive equipment?

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I think that maybe it's because your friend is incorrect.

I suggest you shoot your hunting video on what ever camera
you have available.

Check out these threads on cameras:
http://www.filmmaking.net/fnetforum/topic.asp?TOPIC_ID=7034
http://www.filmmaking.net/fnetforum/topic.asp?TOPIC_ID=6195
http://www.filmmaking.net/fnetforum/topic.asp?TOPIC_ID=6316
http://www.filmmaking.net/fnetforum/topic.asp?TOPIC_ID=4527
http://www.filmmaking.net/fnetforum/topic.asp?TOPIC_ID=4479
http://www.filmmaking.net/fnetforum/topic.asp?TOPIC_ID=4183
http://www.filmmaking.net/fnetforum/topic.asp?TOPIC_ID=4555

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

quote:

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Originally posted by tbrownarcher

Maybe i'm in the wrong place but I'm interested in making a hunting video.

Do I have to get special equipment such as a very expensive camera or can I begin with a cheaper video camera like a home model? That is if I ever want to get to television? Probably never but a friend of mine told me I have to have a $5000.00 camera and a $1000.00 tripod.

Since I see home videos on tv all the time I'm wondering why that it would be necessary to have the more expensive equipment?

thanks,
Nate

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Hi, Nate.

The first question you need to answer is where you plan to exhibit or sell the project. If you have a specific network or outlet in mind, you should contact them and ask about their delivery requirements.

For instance, some outlets require that X% of the contact be shot in 4:2:2 or better HD with only Y% allowed to be 4:1:1 resolution.

So while you could shoot your project on any format, you could potentially sabotage your own efforts and wind up with a project that you can't sell to anyone.

Even if you want to self-market and sell your project on your own (perhaps on DVD), there are still post-production workflow issues and parameters that you must be aware of before you make any camera or format choices.

So, the moral of the story for anyone making a movie or any project is that your final delivery specs and post-workflow realities will almost always drive the choice for how you will acquire the images. Don't start with the camera and then "make it work" as you proceed through the production, post, and delivery process. KNOW where you're project is going, what those requirements are, and then make your production decisions based on what you learn.

Good luck!

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