EQUIPMENT
The equipment on a production is usually rented. If you
intend to have a long career in movies, as I expect most of the readers
of this book desire, I recommend that you buy the basic equipment along
the way.
If you're making your first professional movie, shoot 35mm. If your
budget is $50,000 or more, shoot 35mm.
If your budget is less than $50,000. shoot 16mm. Never, never, never
shoot video! I don't care what technology they develop. Even if it's
better than film, don't shoot video!
Because video is video. Video will always be video. Video is not film.
And you're a Film Maker! Otherwise, why are you reading this book?
You've noticed I go a little nuts when the subject of video
comes up. So let me give you one more suggestion about video before
going on.
Don't allow any video technology on the set! That means, "No video
assist!" Forget even you heard me mention it! This means no monitors on
the set!
Your camera person, whether you shoot yourself or call that
person a cinematographer or a DP, is the only one to put their eye on
the eyepiece while the shot is in progress. If you don't trust that
person, why use him or her to shoot your picture in the first place?
Think "one camera" when you shoot. Rarely, use two cameras.
Let's say, you're shooting a car going over a cliff or exploding or a
miniature helicopter exploding or whatever, (you get the idea?) okay,
use two cameras. You might want to use the best of the two shots,
because of some fluke accident that resulted in producing a better
picture from the camera position that you considered to be your second
best angle or frame.
But, once you have two shots of explosion or action, please do yourself
the biggest favor: don't use both shots and overlap the explosion! It's
been done to death. And it will alert your audience to the fact that
they are watching a movie and not a depiction of reality, you know what
I mean? You do know that much about film making, right?
Don't feel bad. I'm not trying to insult you. I've done the same thing
myself: double explosions, double punches, double everything -- nobody
ever gets impressed anymore, and maybe no one ever did!
One camera is cheaper to rent. One camera shoots less film.
One camera position is a good discipline because you want to be the
kind of film maker who knows what is good and makes up the artistic
decision to get it on film just like that.
Whatever camera you can afford on your budget, rent that
one. Don't listen to anybody. Don't feel bad that some other hotshot
director uses a fancier camera.
All a camera does is move the film twenty-four frames per second
through the gate. Any camera that can do that you can use it to make a
feature film. Believe me! I know what I'm talking about. If you can
afford to use a fancier camera that will make your camera person happy,
all right, go ahead. Sometimes when you have the choice that's a
wonderful idea. You can make a better movie that way. But don't let the
camera rental cost stop you from making your movie! That's all I'm
saying.
One more recommendation on camera equipment: try, try real
hard not to even have a zoom lens on the set. Short of breaking it, do
everything you can to eliminate it from the script as a requirement.
For example, if the script calls for "WE ZOOM IN on the telephone,"
take an indelible ink marker or a thick-pointed sharpie and cross out
"WE ZOOM IN on" and write clearly over it "INSERT of"! You can ask the
camera assistant to get the shot at the end of the day. He or she will
love you for it. All the camera crews die for a chance like that!
And you'll save four hours of lighting the shot and setting
up dolly tracks and all, because otherwise why have you been carrying
the dolly and tracks for three weeks if you're not going to use them?
See what I mean? You'll save about $5,000 by doing the insert! And it's
better! Who the hell wants a zoom and dolly shot of a telephone? I know
it was my idea in the first place. I'm not getting myself excited over
nothing; it happened to me!
Rent a couple of tripods and a high hat. Rent a fluid head
big enough to handle your size camera. The O'Connors are good. The
O'Connor 100 for 35mm, the O'Connor 50 for 16mm. The Worrall head is
fine, if you have an operator who can use it.
For sound, rent a Nagra. It doesn't matter what model Nagra.
Just like the camera. If it's working all right, it's good enough. You
have the money in your budget for a fancy model, all right, make your
sound person happy! Why not? You'll get better sound.
Rent a boom and a mid-range mic, like the Sennheiser 416.
Use this on the boom as much as you can, whenever you can. You'll get
the best sound possible.
Also rent a shotgun mic, like the Sennheiser 816. It comes in handy on
some difficult locations where you need the narrower reception angle,
to isolate extraneous sounds.
If you're doing a low budget picture, stay away from radio
mics! In fact stay away from them, period! Trust me on this one! If
your sound person insists on having them, run for your life!
I know that there are exceptions, when a radio mic can be useful; but,
don't use them anyway, because they'll kill you ... financially, of
course. One way or another, no matter how you cut it, you'll find out
you were better off not having used them. So don't even think of them.
There are ways you can do the same thing with conventional
mics.
If you're budget allows it you can rent other equipment. On
low budget productions, a couple of reflectors are great. If your
budget is below $250,000 never use lights outdoors! Use reflectors
only! You can use four or even more if need be, but stick with them.
You can't afford a generator and ten Ten-Ks, or HMIs.
For indoors, rent a maximum of four lights on low budget productions.
Most of the time you'll use only two, a key and a fill. You can rent
two One-Ks, one 500 Watt and one Soft Two-K -- if your budget is about
$150,000.
You'll need some flags, nets, cutters, etc. You'll get an
earful from your camera department, so be very conservative, otherwise
they'll drive you up the wall with demands for equipment. They'll claim
you won't get a well-lit picture. Don't believe it. If they're good,
they'll give you the best on whatever they get. That's one great thing
about American crews, they're resourceful and creative! Push them, if
you're short on budget. They have pride and will give you their best.
You'll never know the difference in the look of the film whether you
spent $5,000 or $10,000 on a lighting and grip package.
If you can afford a grip and lighting truck, what can I say,
they're great; but, don't let the fact that you can't afford anything
more than a station wagon with a couple of reflectors and some 3200 K
lamps for practicals (household fixtures) to prevent you from making a
movie!
There are some necessary requirements imposed by the script,
however. If you need fog machines, you need fog machines. And on some
pictures you must have a lot of light. If your budget is pushing a
million, you can afford the best equipment.
You can secure great deals at Panavision and other first rate rental
houses. They take a lot of pride in their ability to work with young
film makers and serious professionals making their first big pictures.
They bend over backwards to help. Just be up front with them about your
needs and they'll often make the impossible possible for you in rental
packages.
It's most important that you take excellent care of the equipment you
rent. That's your lifeline in making it in the business.