Here's a list of the filmmaking gear I currently use. I've been creating DSLR-based films for the past two years, and my philsophy is to squeeze the most out my limited equipment budget. There are lots of great places to find straight-up descriptions of gear, so instead I'm going to move chronologically. These some of my perspectives and recommendations...
CAMERAS
Canon T2i
This camera was actually my second DSLR (after breifly owning the T1i), and it remains today a workhorse. Make no mistake about it, the T2i is capable of capturing amazing footage in capable hands. Another often overlooked advantage of the T2i over it's higher-end brethern is that it is extremely small and extremely lightweight. The one real caveat with this camera is the fact that it utilizes an APS-C sensor, which has a 1.6 crop factor. That that means is that you have to do some math to understand how your lens is going to function. For instance, a 50mm lens is actually closer an 80mm in functionality. Not the end of the world, but it's a consideration.
One last note on this camera; now that Canon's released the T3i you should seriously consider shelling out the extra $100 and going with it instead. The upgraded swivel screen and audio controls are probably worth it.
Canon 5D Mark II
This is the absolute godfather of the DSLR-filmmaking world, the one that started it all. And there's good reason it's held in such high regard. The 5D Mark ii shoots amazing imagery all day long. After using it on a number of projects I've been absolutely blown away with how much of a difference the full frame sensor makes. And the depth of field it's capable of. And it's low-light performance. It deserves every acolade it's gotten. One thing I'd highly recommend is investigating different color styles like the Marvels Cine style and the Technicolor Cinestyle. These take the camera to a whole other level.
LENSES
Canon 85mm f/1.8
This is an ideal focal length for portraits, which means it's perfect for shooting interview work. It really makes people look their very best, and the bokeh produced by this lens, particularly with the 5D Mark II's sensor. If you're just beginning to build your collection, however, this is still more of a secondary lens; make sure you get a 50mm first.
Canon 50mm f/1.4
The 50mm is THE standard prime lens size. It's super-sharp and super-fast, allowing you to shoot with very, very little light. This is currently the fastest lens I own, which means it gets a whole lot of use. It's also great for all-around documentary work. Something to consider: when stopped down this lens can get really sharp, which might actually take you away from the "filmic" look you're going for. Just a consideration...
Canon 28mm f/1.8
If you start out with a APS-C crop sensor lens camera (T2i, T3i, 7D, ect) you'll soon figure out that a 50mm lens functions closer to an 80mm lens, which is great for making people look good, but not really wide enough for most documentary-style shooting. Enter the 28mm f/1.8. This is my absolute go-to lens for shooting with the t2i. It's also a killer low-light wide-angle lens on the 5D Mark II.
Canon 24-70 f/2.8L
This is the lens I've been dreaming of since I really started learing about lenses. And yeah, it lives up to the hype. It's the perfect lens for filmmaking on a full-frame camera like the 5D. It covers all the 'classic' ranges you'd want to shoot with, and it's a consistent 2.8 aperture across the entire zoom range. Something surprising about this lens is that it's actually a macro lens as well, meaning it can focus on something only 6 inches away from the lens. If I had to shoot a film with only ONE lens, this would be that lens.
Canon 70-7200 f/2.8L IS (1st generation)
It's funny, I'm supposed to say that beyond the 24-70 this is my favorite lens. But here's the thing - it's isn't. While it's a impressive lens with extraordinary capabilities it's just that the 70-200mm range doesn't really fit my filmming style. Usually 85mm is plenty long for me, and I love my prime 85mm f/1.8 for that. I'm holding onto it to see if it's something I'll use in the next year, but if I don't find myself using it more in the next 12 months I'll probably sell it in favor of getting something super-wide. (by the way Phillip Bloom thinks the 2nd gen version of this lens is too sharp for film, so a 1st gen version in great condition might be the way to go on this)
STABILIZATION
Manfrotto 501 HDV Head & Tripod
There are a few different tripods I used depending on the circumstances, but the one I end up using most of the time is the Manfrotto 501HDV head with some basic Manfrotto sticks. It strikes a nice balance between features, fluid motion and portability If I'm going to be doing mostly shoulder-mount or stedicam-type shots I'll sometimes even bring something lighter. Either way, a decent tripod is the most important accessory almost every DSLR shooter will need.
Hague MiniMotion
There are a lot of great stedicam-style devices on the market right now, but with the way I shoot having something that will literally fit inside the laptop space of my camera bag is priceless. And this thing really works. For me the magic combination with this has been a T2i with the 28mm lens, although I may try shooting even wider in the future. Again, this one is a great value for the money. (available on eBay)
Bush Hawk Shoulder Mount
A year ago you could get a Bush Hawk Shoulder Mount new for $100, but the advent of DSLR filmmaking has really driven the price up on these. (probably because they're built like a tank) If I had to do it again I might look at some other options, but I still have nothing but good things to say about it. If you're just looking for a no-fuss way to stabilize your camera when you're in run-and-gun mode this this really will get the job done. The downside is that it's not that customizable, especially compared to some of the other rigs out there. That being said, going with one of these can save you hudreds of dollars that you can put towards the more-important lenses.
Kessler Pocket Dolly
I was finally able to get ongoing access to a Kessler PocketDolly, and I'm really happy with the results from it. Again, this would definitely fall under the "good for the money" category as there are better devices out ther, but they cost an arm and a leg. The Pocket Dolly probably hits the sweet spot between quality and value pretty close to on the head.
AUDIO
Rode VideoMic
Rode's been making quality audio gear for a while, and the VideoMic's a perfect solution for grabbing great 'field' audio when you're shooting on the go. It won't replace a solid lav mic on an interview, but it's a great solution for the terrible mics built into DSLRs. As an added bonus, you can also buy this mic with a custom-designed pistol grip that attaches onto a boom pool from Amazon.com. Rode has since released the VideoMic Pro, but at this point I'm not convinced it's worth the extra money.
Dead Cat
If you're planning to record audio in the great outdoors, you're going to need a 'dead cat.' This is the big, fluffy windscreen that goes over the mic in order to eliminate, or at minimize, wind noise. It only takes a couple of blown audio recordings before you'll understand just how crucial a piece of audio gear this really is. Trust me, just factor it into the cost of the mic.
Tascam DR-100
DSLR-native audio has so much going against it that you really need requires separate-system audio to achieve professional results. When I first started looking at field recorders I borrowed a Zoom for a couple of weeks, but was ultimately attracted more to the Tascam DR-100 because it offered more manual control during recording. I've stress-tested it on some critical projects, and it's always come through like a champ.
Accessories
Filters & Hoods
So here's what you do; figure out which lenses you spend 90% of your time shooting with, then invest in some good hoods, ND fliters and circular polorizers for them. These things really help control light and reflections, allowing you to craft the kind of images you're going for. (nothing's more annoying than losing the ability to finesse your depth of field because you have not filters on hand)
Viewfinder
This is another outdoor-shooting essential. The ability to carefully set your focus and exposure is a big part of what makes DSLR filmmaking to dynamic, and the LCDs on the back of these new Canons are awesome, but when you're shooting in the noonday brightness all of that is up for grabs if you don't have a good viewfinder to use. Being ever-budget-minded I've gone with the Hoodman Hoodloupe, and it's served me well. There are always better models you can go with, but the Hoodman gets the job done.
Lowepro Fastpack 250
You'd be shocked a how much time I spent researching the perfect backpack for my DSLR rig. I wanted something that could carry my camera body, 3-4 lenses, filters, Hoodloupe, VideoMic, changer, extra batteries, extra memory cards, my Hague MiniMotion, AND my Bush Hawk Shoulder Mount - all at the same time. The Fastpack 250 fits the bill to a tee.
Questions? Insights? Leave a Comment below and let's discuss...
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