@Ryo Just do films bro :'), make films about your day, about the things you saw, write your scripts, study about how to do, and watch movies. But my principal advice is: Live. Your experiences are the most important thing you have. Theres a legendary filmmaker called Jonas Mekas, his films are just about the things he saw and recorded. At the first time you will think its too low or to annoying, but give it a try. So thats it, try everything, and yes, take advantage of your equipament, use what you have
The thing that all the prosumer cameras do way better for small crews/productions compared to arri and red is that they are designed to be used for a one man show. They work perfect in that setting.
Not necessarily, as Sony trade too much in temrs of color science, post production latitude, and a lot of functions, how can a 2 in 1 defines what is good for solo shooters?A so called cine cam fx3/30/s3 without internal nd or shutter angle and expose using histogram? Haha
Things like eva1, c70, c300m3, c500m2, kmodo would have strong against u, and to be honest I know documentary crews, they use red gemini and red vraptor to shoot wild animals, mostly one man one cam
@@frankhu8692ooks like someone never shot weddings lmao. Thats also a lot of words for a pointless argument Also eva1 and canon cams and komodo you listed are much much more expensive my man. You’re comparing apples to oranges.
@@HAlariousIncI thought the argument was for “movies” and not for weddings. Red Komodo etc are imo inappropriate for weddings if you’re a one man crew and also want to snap photos.
@@Lidoe not always true. film schools that give you hands on experience on sets of student films can help you make connections and if your school has equipment it gives you a good place to rent it (usually they will only let you do so for class projects but if the class is good enough you can create a film you’re passionate about and also turn it in as an assignment)
Netflix has a list of cameras as a reference for the many production companies they work with to commission original content. You can shoot your film on whatever you like and still have your film sold to a streamer, just as Sean Baker did with Tangerine which was shot on an iPhone.
Thanks for the reminder that story is the important ingredient. I recently shot my first mini-doc, "Sing the Heart of the Magic: A Jennifer L. Nelson Story," on a Canon T7i. I submitted it to a few film festivals. Fingers crossed that it gets selected. If not, at least those invested in the project (Jennifer's sister and the theater community she nurtured here in DC) are happy with the finished product. While working on that project, I wanted to jump to animating so bad, but fought the urge and focused on telling Jennifer's story first. Again, thanks for always dropping these gems.
@@screwtapee I just found out that my mini-doc, "Sing the Heart of the Magic: A Jennifer L. Nelson Story," received the Silver Award at the Spotlight Documentary Film Awards. I'm waiting to hear from five other festivals I submitted to.
The movie End of Watch, released in 2012 and directed by David Ayer, was shot on digital using Canon EOS-5D Mark II Camera, Canon EOS-7D Camera, Canon XA10 Camera, GoPro HD Hero Camera, Silicon Imaging SI-2K Mini Camera, Silicon Imaging SI-2K Nano Camera and Canon Lenses, Zeiss Ultra 16 Lenses, Zeiss Ultra Prime Lenses with Roman Vasyanov as cinematographer and editing by Dody Dorn. One of my favorite movies to ever see in cinema shot using prosumer cameras in order to achieve the gritty look he was imagining. It all really matters on what look your going for at the end of the day.
I’ve been watching you for years man. You had become my film school from the age of 16 until now. Im 24 with a feature film under my belt and others on the way! Slowly growing my RUclips channel thanks to you bro. I’m really glad that people who might night be able to afford the education can look to creators like yourself. Keep killin it Big D!
This been my guy for yrs too. I'm from NC and looking at just taking courses to learn more about the technical stuff with cameras and filming, with these channels by d4darious and a few others , and just doing the work, that's gonna be the best option til film school is the best course. Keep pushing 💯✅🎬📸📽️
Great video! Bottom line: making a "movie" isn't so much about the camera as it is about the story. A great story will always win the day. You can shoot an amazing story on a potato-cam and as long as you have good audio (yep - that's a must), the message will win out over the gear. However - @D4Darious is exactly right about the PROCESS the Big Boys use. Bit depth. Sensor size. Codecs. All of those are part of the workflows used by the big studios and if you're goin' there, you need a camera that can mesh with all that stuff. That's why broadcast cameras for live events often cost as much as my house. If you're bouncing a signal up to a bird in orbit and then back down to the studio, you need a camera (and lens) that can take all that hammering around and still hold together. But ima say it again - don't let gear stop you from creating something. If you're shooting on a phone, learn where the phone is weak and stay away from those situations. Play to the strengths of the gear you have and you'll be surprise at what you can come away with! Merry Christmas Big D! Much love! Keep on doin' what you do! ❤
If you're going to do work for a big studio you're not bringing your personal. Most likely you would have a budget from a producer that would also pay for the rental of the equipment required.
I love the format of your delivery! I went to school for finance and have been entrepreneurially minded in my career, but I started taking my creativity seriously when I began with vector graphics. How I am diving head first into the film production world, about to get my second camera body for making some good movies.
Movie "the creator" revolutionized the known prosumer camera possibilities because it was shot on an Sony FX3. Movie was in a futuristic setting so Sony's digital image look was more than welcome, the money saved made them shoot on more exotic locations which made all the difference.
D4 again with a banger! Been watching you for years and graduated film school earlier this year, couple of my teacher's actually directed us to your channel. Keep it up mate :)
Fun fact: Many of these big budget films actually DO use prosumer cameras for multiple shots in their $60 million + Studio films... they just don't tell you lol Keep more vids coming brotha
I believe that many have used a Canon 5D Mark II for crash cams back in the early 2010's, some of the early Marvel movies used them and some tv shows used them as a quick way to get background plates for moving cars. I miss using that old beast of a camera, powerhouse of a camera for it's time.
Setdesign, costumes, lighting, blocking & lenses are technical things that you should ideally budget-in before the actual sensor if you are starting out. Blackmagic Pocket OG… that’s like 500 usd & works great of you are starting out & on your way. The pricier lenses tend to add precision or character, the pricier cameras add modularity, system-stability, workflow / pipeline optimization, sensor tweaking, better color reproduction. Even when shooting advertisements there are many scenarios where I’d go pocket 4K, 6K, Ursa mini over the Alexa - rigging Alexa for Top-Down is just so much more weight in gear & safety measures, same for rickshaw or stabilizers.
Loved this video, bro! That's one of the comments I see a lot on my channel: "I'm waiting to get 'X' piece of gear before I start..." I'm always like, you never gonna start then!
Dude Upstream Color made a huge impact on me back in the day that movie is epic! I had no idea it was shot on a GH2! My first camera (for 4 years) was a GH4, just upgraded to Pocket 4K a year ago... This info just boosteg my motivation like hell! Thank you :)
And don't forget, ZACK SNYDER'S JUSTICE LEAGUE was shot in the 4:3 aspect ratio. Meaning, you can do whatever you want if you have the creative confidence in your idea and know how to work with WHATEVER camera you have. Remember, the 'normal going public' usually has no idea on what goes behind those cameras. All that matters to them is the END RESULTS.
Great video! I think limiting yourself to gear is a great way to think creatively of how to convey a story. In my case (don’t have a camera) but an iPhone X and I’ve always wondered what it’d be like to make a little story movie with it and how I’d go about doing that. Who cares that I don’t have a camera, as long as I can get my message across in the way I want I’m happy 👍
I remember hearing Spielberg speak at UCLA some years ago. Not once did he talk about gear or camera technique, although he's very creative in those... It was all about STORY, STORY, STORY.
I started when you pretty much had to shoot on film to be taken seriously. Filmmaking back then really was FILMmaking. 16mm or 35mm (forget Super 8 even). Believe me, there was "snobbery" even amongst film shooters. 35mm shooters looked down on 16mm shooters who looked down on Super 8 shooters who all (including me) looked down on video shooters. At $1000 per 11 minutes for 35mm film alone, that format was out of the question, so 16mm was the best I could do (I also shot Super 8). I was a "shoot on film only" snob up until 2008 when I finally conceded that video (digital HD video) was starting to look good. I actually bought a Sony PMW-EX3 (Philip Bloom's video won me over). This was just before the DSLR "filmmaking revolution" which I didn't see or anticipate at that time. Even the industry was finally loosening their standards. Though I still would shoot on the EX3 if I had to (which is 1080p), I was recently in a fortunate position to buy a new 4k camera, so I upgraded to a Sony PXW-FX9. Now I say just shoot with what you have. Just make something interesting. It sort of mattered what you shot on back when I started. VIDEO was never really taken too seriously by the film industry. There was FILM and there was VIDEO. Now it doesn't matter. You can get away with shooting on standard definition video these days (Blair Witch was mostly shot on standard definition video), just...make it interesting. You're lucky to be starting with all these tools at your disposal and have the industry not shut you out simply because of what you shot on. I would've killed to have the post production NLE editing tools (and the cameras) that are available to everyone now. I would've gotten so much more done. So much easier and cheaper.
Yes, good story is the factor that will bring you opportunity in the beginning. As for camera, I'm using Sony DCR-PC5 for my old-time photography hobby and new-born interest in videography. X')
Thank you Darious! I've been watching your videos for the past couple of years and i always feel like i'm learning something new in film, editing and story-telling. Your work is so valuable and it's a constant gem for so many aspiring filmmakers, thank you!
What an incredible video my dude....I have an iPhone 14 Pro Max & I always have this "itch" to create great videos, maybe a short film...I need to get a move on and do it. Heck, I know an amazing movie called "unsane" which was a fully blown "real" movie shown in cinemas & was shot on an iPhone 7.
I tell this to people all the time. Storytelling is infinitely important. Same with a book. You can have great grammar, word usage, literary devices, and so forth. However, if it's a lousy story it doesn't matter. Many great authors had great editors who cleaned up their grammar and so forth. These authors were great storytellers.
I have a Pocket 4K which I feel like is a weird middle ground between Prosumer and Professional due to the BRAW codec. Also, for the whole Netflix approved cameras, they are the ones you have to use if you are making an show specifically for them. Does not apply if you're selling a show to Netflix.
I left a group because of that reasoning. They picked fun at my film company using a gh6 for professional grade filming for full feature and short films. Upgrade from a g85. So many possibilities and we made sure before the camera was purchased it was a camera acceptable for film freeway and streaming services which it was.
Such great fucking advice. You’re solid, man. Old timey retired film guy here. I did grip and lighting for about ten years before attending AFI for a year. That was the year the Blair Witch Project came out, totally shot on DV and MiniDv (and iirc, the year Final Cut Pro 2.0 dropped). Mike Figgis shot Timecode, which came out the following year. Incidentally, 8 years before, Robert Rodriguez shot El Mariachi on 16mm for an absurdly low budget. I’ll explain why this is relevant in a moment. After my year at the AFI, I went back to work as a grip, but split my time between money making gigs and ultra-low budget projects shot on DV. AFAIK, none of the shot-on-DV shows ever got picked up and none of the directors went on to fame and fortune. Blair Witch Project was the exception to the rule. (And we should note that the producer’s viral marketing game had more to do with getting it sold than anything else.) Robert Rodriguez almost didn’t sell El Mariachi. The biggest issue was the audio was absolutely terrible. The second issue was that it was shot on 16mm. But Columbia liked what they saw and were willing to spend a couple hundred thousand on fixing the sound. (Studios like Columbia were looking for their own Tarantinos to replicate Miramax’s success. Incidentally, Miramax also fostered the talents of Kevin Smith, Jon Favreau, and Doug Limon over the course of the 90s.) Fast forward to 2010, Lena Dunham, and Tiny Furniture. Tiny furniture was her first feature, but she had put in the work over the previous five or six years and had built her creative reputation. It’s also worth pointing out she spent more on film festival entrance fees than she did on her camera. All of this is to say, make your first film on your goddamn iPhone. If you already have a camera, fine. Use that. But if you’re trying to figure what camera to BUY for your first feature, don’t. Use your iPhone. If you really really really have a tight ass script and/or rich parents, then rent the Alexa for your feature (and schedule your shoot perfectly).
uh.. lighting and the right lens/ setup. If you do native resolution, all of these are great. it's when you try to zoom in on a prosumer CCD capture or try to slow down frame rates that these do poorly. Annnnd maybe on major action shots (just can't get the detail and start artifacting pretty heavy). It's not the brush or the canvas, it's the skill.
I think Like Crazy was shot on a PL-modified 7D, if I'm remembering it right. With something like Zeiss Ultra Primes. But that being said, a lot of movies (like Unsane and High Flying Bird by Soderbergh and Tangerine) were shot on an iPhone. So, it kinda runs the gamut of what you can use to shoot something. A tool is a tool, how you decide to implement it, how you work within its limitations, all that falls to the creator. So... I guess to quote Avengers: Endgame (Shot on the the ALEXA65) Whatever it takes.
Ok question: so if I’m not mistaken, the FX3 is a Netflix approved camera, however, the a7siii is not but they share the same sensor. As far as compression and codecs go, what if i shoot with my a7siii but record to my Ninja V in ProRes RAW. Does that make my a7siii Netflix compatible now? Just something I’ve thought about for a while now. Thanks for this informative vid!
I believe fx3 is also not Netflix approved, only fx6 and fx9 are. There are some requirements considering timecode in/out, fx3 and a7sIII don’t have these.
Need to mention, that - Francis, Ha! Was shot on the Canon T3i, because “blown up, it gives a 16mm look.” - Noah Baumbach. Who tested a couple dozen cameras before settling on it. It was also the cheapest camera out of all that he tested, and he had a sizable budget for the film.
I have two indie films streaming on tubi tv, plex, and XUMO. Cameras that were used, were Nikon D3300, Lumix DC-GH5S, and Sony a7 III. Use what you have and make a feature film, I did.
the Panasonic BGH1 and the S1H are in the list of Netflix approved cameras, the S1H being a prosumer hybrid camera body with some video centric features, and the BGH1 is just a box version of the GH5 to make it easy to rig. Both are easy to get for "amateur film makers" But even if your camera doesn't have the "cinema" or "video centric" words attached to it, even cameras like the Fujifilm X-T3 are used for Hollywood level productions for when they need good quality with a smaller footprint People going in saying "these aren't real cinema cameras" are just gate keepers
Great video as always... we're finishing a movie with a BMPCC, which is in kind of the middle ground between prosumer and low-end pro. Until now, I'd say it is looking really good; we'll see in 2023 what happens 😶😐😱.... thanks for posting, you're videos have been really helpful, technically and inspirationally!
@@D4Darious the thing is that there’s dslrs and cinema cameras and the bmpcc is cheap but it is technically a cinema camera which does the job almost as well as an alexa… so if we’re a dp on a budget, i would prioritize lenses so much more over cameras, especially because you can do so much in post about the effect the camera has on the image, but absolutely not about the lenses…
Da King of Filmmaking is back!! Love your Patreon btw! PS. You kept saying Pro Cinema Cameras for non-bigboy-cameras, did I miss a joke or is it a mistake?
You forgot about Tangerine which was shot on an iPhone 5. That's my favorite cheap camera anecdote. The only thing holding you back is writing a good story, as you can shoot a compelling film on just about anything.
I like keeping the right step that you are on fresh in mind cause when you are on step 3 step 106 is a little far out. Just go shoot, then shoot some more with what you got til you get more
Lars Von Trier used a GoPro for the cave scenes at the end of The House That Jack Built, Soderbergh and Sean Baker shot features on an iPhone, Baumbach and Aronofsky have shot large segments of films with Canon 5D/7D, Lynch shot Inland Empire on a Sony PD150, etc.
The movie Like Crazy and the original The Silent House both filmed with 5D mark II. Both shown in movie theaters. The only thing that changed was these companies standards on what they want used. I feel anything that shoots decent 4k could be used. You just need to more effectively craft your shots and lighting.
And don't forget, ZACK SNYDER'S JUSTICE LEAGUE was shot in the 4:3 aspect ratio and not the regular 16:9 aspect ratio. Meaning, you can do whatever you want if you have the creative confidence in your idea and know how to work with WHATEVER camera you have. Remember, the 'normal going public' usually has no idea on what goes behind those cameras. All that matters to them is the END RESULTS.
@@securityg Exactly my thoughts and my above examples of films shown in theaters filmed with the 5D mark II. When that camera came out and the T2i as well. People got excited because they could finally make a film with interchangeable lenses in really good High definition. I didn't even know dslrs could film in HD until around the middle of 2011. I had been struggling on getting a new camcorder or a dslr to take high quality stills. Once I found that out I studied up on diffeent dslrs and then decided on the T3i. I felt like I had a pro camera body despite it just being a Canon Rebel. Lol
Good video. Tangerine was shot on iPhone 5Ss with custom lens attachments. If you have an idea that resonates with people, film it with whatever you have.
You just deliver mate, everytime. Happy holidays, was good to see you and thanks as usual for the content. You do have point. Just shooting on an R7 and R10, but I am a one man show so those things have to work. And they do, for what I do. Have to work on story telling and stuff though…😅😂 Cheers mate
This is why blackmagic is the greatest ever. Affordable, cinema grade and easy to use. And still lightweight. But wayyy better than any dslr in the world
Lovely video. I filmed my FIRST short movie with a Canon 6D and I just won a "best independent film" in New York, and 4 more awards worldwide. So I TOTALLY agree with you. It's not a matter of the tool in your hands, but WHAT YOU DO with that tool.
And don't forget, ZACK SNYDER'S JUSTICE LEAGUE was shot in the 4:3 aspect ratio and not the regular 16:9 aspect ratio. Meaning, you can do whatever you want if you have the creative confidence in your idea and know how to work with WHATEVER camera you have. Remember, the 'normal going public' usually has no idea on what goes behind those cameras. All that matters to them is the END RESULTS.
I use a Lumix S1 for my independent work, but when I have a film with the budget, hell yes, I am going for an Arri with some Master anamorphics, Zeiss Ultras, Leica Summiluxes or whatever serves my story the best :) As an indie filmmaker, you are limited by the nature of equipment you have access to, lenses not the least amongst those
@@frankhu8692 I've only used the S1 and GH5 in Panasonic lineup, the image is definitely gorgeous and the dynamic range is incredible. I cannot compare them to Sony as "more" or "less" of a cinema camera, however. If I had to shoot slow motion, especially with lesser light available, I would definitely go with a7S III / FX3. As D4Darious pointed out in this video, you can make "cinema" with any of these cameras, including the now-ancient 7D and 5D line of cameras :)
@@jayforcinema for me it depends on functions, such as the same interface style as varicam and eva1, anamorphic desqueeze, shutter angle, and the cinema vlog, sony fx line's slog is different than that of their cine variant, and they lack so many features, their high iso performance is also more for wild life documentary instead of filmmaking
@@jayforcinema there is nothing called "cinematic", such a vage word, i am focusing on function and sensor type, a three chip stacked sensor that fouces on lattitude, dynamic range, and color from ARRI is different than a photography cmos for sure, and the functions speak for themselves, if u still don't understand these, then you are not deep enough in the cinema field
@@jayforcinema Regarding his video, i strong oppose it, becasue those who reject hybrid are not trying to say hybrid cannot shoot, but simply trying to alart those who are really into and want to produce the best image with effeciency that, hybrid is not main stream, nor it is the best or the proper solution, is a good entry point though, nowadays no one is boasting ARRI, it is sony and other hybrid camera brand who continue to boast only high iso performance and auto focus to be equal to good cinema camera, in my perspective that's bull sht
I guarantee any good DP could create amazing shots on a DSLR. And plenty of films are shot on expensive cameras and still look like absolute garbage. We should be striving to have such good cinematography that it doesn't matter what camera we use.
Cool info, I’m on an m50. Started researching this after hearing about the Netflix list and last night was thinking, what about Hardcore Henry. Shot on a GoPro. But it’s not streaming on Netflix. Though another service does have it.
I do think it’s a bit of generalisation that it’s only films from big companies. So many low budget films are still shot on industry standard equipment. Shooting on prosumer cameras will save money but it will not match up in how much it would slow a full camera crew down
I have a Sony A7III and... you're not wrong. I cannot for the life of me get that thing to not overheat! There are of course location temperature variables but the best I could get it to was about 35 minutes continuous shooting at 4k. At worst, it overheated in 15 minutes, again at 4k. But if it did not overheat, I could definitely get passable quality movie footage because I don't buy cheap quality lenses. But yeah, none of thay matters if I can't record footage! 😖
I finally graduated from film school and I always say take advantage of the limitations of camera as much as possible.
Yo congrats fam!
@Ryo Just do films bro :'), make films about your day, about the things you saw, write your scripts, study about how to do, and watch movies. But my principal advice is: Live. Your experiences are the most important thing you have. Theres a legendary filmmaker called Jonas Mekas, his films are just about the things he saw and recorded. At the first time you will think its too low or to annoying, but give it a try. So thats it, try everything, and yes, take advantage of your equipament, use what you have
Very good point!
Limitations definitely led to really cool results
There will always be limitations. I don't care how big the budget is how high-end the rental camera is. It is all relative.
The thing that all the prosumer cameras do way better for small crews/productions compared to arri and red is that they are designed to be used for a one man show. They work perfect in that setting.
Thank you for sharing your thoughts on this E. 👀
Not necessarily, as Sony trade too much in temrs of color science, post production latitude, and a lot of functions, how can a 2 in 1 defines what is good for solo shooters?A so called cine cam fx3/30/s3 without internal nd or shutter angle and expose using histogram? Haha
Things like eva1, c70, c300m3, c500m2, kmodo would have strong against u, and to be honest I know documentary crews, they use red gemini and red vraptor to shoot wild animals, mostly one man one cam
@@frankhu8692ooks like someone never shot weddings lmao. Thats also a lot of words for a pointless argument
Also eva1 and canon cams and komodo you listed are much much more expensive my man. You’re comparing apples to oranges.
@@HAlariousIncI thought the argument was for “movies” and not for weddings. Red Komodo etc are imo inappropriate for weddings if you’re a one man crew and also want to snap photos.
My man you got me up and running faster than 2 ½ years of film school!!!
That's the idea 💪
Honestly film school’s useless unless you don’t know what you’re doing at all
@@Lidoe I'm good
@@Lidoe not always true. film schools that give you hands on experience on sets of student films can help you make connections and if your school has equipment it gives you a good place to rent it (usually they will only let you do so for class projects but if the class is good enough you can create a film you’re passionate about and also turn it in as an assignment)
Netflix has a list of cameras as a reference for the many production companies they work with to commission original content. You can shoot your film on whatever you like and still have your film sold to a streamer, just as Sean Baker did with Tangerine which was shot on an iPhone.
Thanks for the reminder that story is the important ingredient. I recently shot my first mini-doc, "Sing the Heart of the Magic: A Jennifer L. Nelson Story," on a Canon T7i. I submitted it to a few film festivals. Fingers crossed that it gets selected. If not, at least those invested in the project (Jennifer's sister and the theater community she nurtured here in DC) are happy with the finished product.
While working on that project, I wanted to jump to animating so bad, but fought the urge and focused on telling Jennifer's story first. Again, thanks for always dropping these gems.
Tell us if it gets accepted!
@@screwtapee will do. Thanks!
@@screwtapee I just found out that my mini-doc, "Sing the Heart of the Magic: A Jennifer L. Nelson Story," received the Silver Award at the Spotlight Documentary Film Awards. I'm waiting to hear from five other festivals I submitted to.
That's amazing. congratulations 🎉@@Alanwking
The movie End of Watch, released in 2012 and directed by David Ayer, was shot on digital using Canon EOS-5D Mark II Camera, Canon EOS-7D Camera, Canon XA10 Camera, GoPro HD Hero Camera, Silicon Imaging SI-2K Mini Camera, Silicon Imaging SI-2K Nano Camera and Canon Lenses, Zeiss Ultra 16 Lenses, Zeiss Ultra Prime Lenses with Roman Vasyanov as cinematographer and editing by Dody Dorn.
One of my favorite movies to ever see in cinema shot using prosumer cameras in order to achieve the gritty look he was imagining.
It all really matters on what look your going for at the end of the day.
Giveaway package 📦
Via telegram........
I’ve been watching you for years man. You had become my film school from the age of 16 until now. Im 24 with a feature film under my belt and others on the way! Slowly growing my RUclips channel thanks to you bro. I’m really glad that people who might night be able to afford the education can look to creators like yourself. Keep killin it Big D!
This been my guy for yrs too. I'm from NC and looking at just taking courses to learn more about the technical stuff with cameras and filming, with these channels by d4darious and a few others , and just doing the work, that's gonna be the best option til film school is the best course. Keep pushing 💯✅🎬📸📽️
Great video! Bottom line: making a "movie" isn't so much about the camera as it is about the story. A great story will always win the day. You can shoot an amazing story on a potato-cam and as long as you have good audio (yep - that's a must), the message will win out over the gear.
However - @D4Darious is exactly right about the PROCESS the Big Boys use. Bit depth. Sensor size. Codecs. All of those are part of the workflows used by the big studios and if you're goin' there, you need a camera that can mesh with all that stuff. That's why broadcast cameras for live events often cost as much as my house. If you're bouncing a signal up to a bird in orbit and then back down to the studio, you need a camera (and lens) that can take all that hammering around and still hold together.
But ima say it again - don't let gear stop you from creating something. If you're shooting on a phone, learn where the phone is weak and stay away from those situations. Play to the strengths of the gear you have and you'll be surprise at what you can come away with!
Merry Christmas Big D! Much love! Keep on doin' what you do! ❤
Enjoyed reading this Bruh-Bruh. 👀 I couldn't agree more.
Happy holidays to you, Fam.
Exactly!
If you're going to do work for a big studio you're not bringing your personal. Most likely you would have a budget from a producer that would also pay for the rental of the equipment required.
I just stumbled on your channel.
This video was:
Informative ✅
Visually Appealing ✅
Detailed ✅
Short (Consumable) ✅
Great work Bru.
Excellent brother! Totally agree. Top notch content, as always.
Thank you Big A.
You never fail to deliver, fam. Great job explaining that. The animation was clean in this one, too.
Thank you Douglas.
I love the format of your delivery! I went to school for finance and have been entrepreneurially minded in my career, but I started taking my creativity seriously when I began with vector graphics. How I am diving head first into the film production world, about to get my second camera body for making some good movies.
Movie "the creator" revolutionized the known prosumer camera possibilities because it was shot on an Sony FX3. Movie was in a futuristic setting so Sony's digital image look was more than welcome, the money saved made them shoot on more exotic locations which made all the difference.
D4 again with a banger! Been watching you for years and graduated film school earlier this year, couple of my teacher's actually directed us to your channel. Keep it up mate :)
That's an honor
The boy Darius !!!! Hope all is well sir. Glad to see you drop right before the holidays.
Thank you T.
Fun fact: Many of these big budget films actually DO use prosumer cameras for multiple shots in their $60 million + Studio films... they just don't tell you lol
Keep more vids coming brotha
I believe that many have used a Canon 5D Mark II for crash cams back in the early 2010's, some of the early Marvel movies used them and some tv shows used them as a quick way to get background plates for moving cars. I miss using that old beast of a camera, powerhouse of a camera for it's time.
@@Narvie04 They did it in Mad Max IV! They put 5D Mark III on that pole that swings back and forth.
Thank you for chiming in Brent
Yeah Gone Girl used the Sony A7s for some low light stuff I believe
they use products from lumix not sony
Setdesign, costumes, lighting, blocking & lenses are technical things that you should ideally budget-in before the actual sensor if you are starting out. Blackmagic Pocket OG… that’s like 500 usd & works great of you are starting out & on your way. The pricier lenses tend to add precision or character, the pricier cameras add modularity, system-stability, workflow / pipeline optimization, sensor tweaking, better color reproduction. Even when shooting advertisements there are many scenarios where I’d go pocket 4K, 6K, Ursa mini over the Alexa - rigging Alexa for Top-Down is just so much more weight in gear & safety measures, same for rickshaw or stabilizers.
Thanks so much for mentioning that! I shot a 105 minute on blackmagic and it was such a good decision looking back at it..
Loved this video, bro! That's one of the comments I see a lot on my channel: "I'm waiting to get 'X' piece of gear before I start..." I'm always like, you never gonna start then!
Dude Upstream Color made a huge impact on me back in the day that movie is epic! I had no idea it was shot on a GH2! My first camera (for 4 years) was a GH4, just upgraded to Pocket 4K a year ago... This info just boosteg my motivation like hell! Thank you :)
And don't forget, ZACK SNYDER'S JUSTICE LEAGUE was shot in the 4:3 aspect ratio. Meaning, you can do whatever you want if you have the creative confidence in your idea and know how to work with WHATEVER camera you have. Remember, the 'normal going public' usually has no idea on what goes behind those cameras. All that matters to them is the END RESULTS.
So good. Love the message. Also, your animations to tell the story are so good!
Yo yo thank you Brutha. And happy holidays over there!
Great video! I think limiting yourself to gear is a great way to think creatively of how to convey a story. In my case (don’t have a camera) but an iPhone X and I’ve always wondered what it’d be like to make a little story movie with it and how I’d go about doing that. Who cares that I don’t have a camera, as long as I can get my message across in the way I want I’m happy 👍
I can do whatever I want
Hell yeah
I remember hearing Spielberg speak at UCLA some years ago. Not once did he talk about gear or camera technique, although he's very creative in those... It was all about
STORY, STORY, STORY.
It honestly doesn’t matter what camera you use, your movie is still a movie
Glad to see you back
Thank you, Fam.
David Lynch shot Inland Empire on a damn camcorder in 2006. Anything can work if you’re creative enough and committed to your vision.
Much of 28 Days Later was shot with a Canon XL-1. You can get them on ebay today for less than $200.
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Its been a minute, Darius.
I pray that sometime, you will be in a position to make frequent videos soon.
Much love from Kenya!
We're working towards that next year Allan 💪. Thank you for commenting.
The Possession of Hannah Grace movie was literally shot on Sony a7SII, Mad Max was partially shot on Canon 5D mkII
Welcome back Bro… I have not heard from you in a while. Happy holidays. 😀🥳🌲🎉
Same to you Steve!
I started when you pretty much had to shoot on film to be taken seriously. Filmmaking back then really was FILMmaking. 16mm or 35mm (forget Super 8 even). Believe me, there was "snobbery" even amongst film shooters. 35mm shooters looked down on 16mm shooters who looked down on Super 8 shooters who all (including me) looked down on video shooters. At $1000 per 11 minutes for 35mm film alone, that format was out of the question, so 16mm was the best I could do (I also shot Super 8).
I was a "shoot on film only" snob up until 2008 when I finally conceded that video (digital HD video) was starting to look good. I actually bought a Sony PMW-EX3 (Philip Bloom's video won me over). This was just before the DSLR "filmmaking revolution" which I didn't see or anticipate at that time. Even the industry was finally loosening their standards. Though I still would shoot on the EX3 if I had to (which is 1080p), I was recently in a fortunate position to buy a new 4k camera, so I upgraded to a Sony PXW-FX9.
Now I say just shoot with what you have. Just make something interesting. It sort of mattered what you shot on back when I started. VIDEO was never really taken too seriously by the film industry. There was FILM and there was VIDEO. Now it doesn't matter. You can get away with shooting on standard definition video these days (Blair Witch was mostly shot on standard definition video), just...make it interesting.
You're lucky to be starting with all these tools at your disposal and have the industry not shut you out simply because of what you shot on. I would've killed to have the post production NLE editing tools (and the cameras) that are available to everyone now. I would've gotten so much more done. So much easier and cheaper.
Yes, good story is the factor that will bring you opportunity in the beginning. As for camera, I'm using Sony DCR-PC5 for my old-time photography hobby and new-born interest in videography. X')
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Thank you Darious! I've been watching your videos for the past couple of years and i always feel like i'm learning something new in film, editing and story-telling. Your work is so valuable and it's a constant gem for so many aspiring filmmakers, thank you!
What an incredible video my dude....I have an iPhone 14 Pro Max & I always have this "itch" to create great videos, maybe a short film...I need to get a move on and do it. Heck, I know an amazing movie called "unsane" which was a fully blown "real" movie shown in cinemas & was shot on an iPhone 7.
Duude the graphics visualizations in your videos are so dope!
Wait until you see Kurzgesagt
the editing is crazy, loving it Darious
Thank you Q.
Tangerine was shot on a phone and got into Sundance. It's about story and performance. Great video!
Been using a A6600 for 4 years now and it’s still my favorite camera. Shot over 150 shorts with it. Love that camera.
I just picked up a Sony a6400 for filmmaking/photography. This camera is a beast so far.....solid video bro.
I tell this to people all the time. Storytelling is infinitely important. Same with a book. You can have great grammar, word usage, literary devices, and so forth. However, if it's a lousy story it doesn't matter.
Many great authors had great editors who cleaned up their grammar and so forth. These authors were great storytellers.
I have a Pocket 4K which I feel like is a weird middle ground between Prosumer and Professional due to the BRAW codec. Also, for the whole Netflix approved cameras, they are the ones you have to use if you are making an show specifically for them. Does not apply if you're selling a show to Netflix.
This 👆🏾
Thank you for setting the table right!
Dude! I so LOVE your videos!!! And this is such wise advice for all of us aspiring filmmakers! Thank uuu!!!
Amazing! The way info was delivered is... storyliscious!!
This is the nicest looking explainer video on RUclips, what a neat style. Good job
Kawtali man you made my day... chikolio you deserve an award.
I left a group because of that reasoning. They picked fun at my film company using a gh6 for professional grade filming for full feature and short films. Upgrade from a g85.
So many possibilities and we made sure before the camera was purchased it was a camera acceptable for film freeway and streaming services which it was.
Such great fucking advice. You’re solid, man.
Old timey retired film guy here. I did grip and lighting for about ten years before attending AFI for a year. That was the year the Blair Witch Project came out, totally shot on DV and MiniDv (and iirc, the year Final Cut Pro 2.0 dropped). Mike Figgis shot Timecode, which came out the following year.
Incidentally, 8 years before, Robert Rodriguez shot El Mariachi on 16mm for an absurdly low budget. I’ll explain why this is relevant in a moment.
After my year at the AFI, I went back to work as a grip, but split my time between money making gigs and ultra-low budget projects shot on DV. AFAIK, none of the shot-on-DV shows ever got picked up and none of the directors went on to fame and fortune. Blair Witch Project was the exception to the rule. (And we should note that the producer’s viral marketing game had more to do with getting it sold than anything else.)
Robert Rodriguez almost didn’t sell El Mariachi. The biggest issue was the audio was absolutely terrible. The second issue was that it was shot on 16mm. But Columbia liked what they saw and were willing to spend a couple hundred thousand on fixing the sound. (Studios like Columbia were looking for their own Tarantinos to replicate Miramax’s success. Incidentally, Miramax also fostered the talents of Kevin Smith, Jon Favreau, and Doug Limon over the course of the 90s.)
Fast forward to 2010, Lena Dunham, and Tiny Furniture. Tiny furniture was her first feature, but she had put in the work over the previous five or six years and had built her creative reputation. It’s also worth pointing out she spent more on film festival entrance fees than she did on her camera.
All of this is to say, make your first film on your goddamn iPhone. If you already have a camera, fine. Use that. But if you’re trying to figure what camera to BUY for your first feature, don’t. Use your iPhone. If you really really really have a tight ass script and/or rich parents, then rent the Alexa for your feature (and schedule your shoot perfectly).
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Thanks for the advice.
i mean joel haver has made like 10 features on a black magic and has gotten tv deal offers off it so
I'd also like to mention Frances Ha, directed by Noah Baumbach, written by him and Greta Gerwig, shot on the 5D Mark ii.
uh.. lighting and the right lens/ setup. If you do native resolution, all of these are great. it's when you try to zoom in on a prosumer CCD capture or try to slow down frame rates that these do poorly. Annnnd maybe on major action shots (just can't get the detail and start artifacting pretty heavy). It's not the brush or the canvas, it's the skill.
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This is a fantastic video. well done, yet again. Can’t wait to see the next!
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I think Like Crazy was shot on a PL-modified 7D, if I'm remembering it right. With something like Zeiss Ultra Primes. But that being said, a lot of movies (like Unsane and High Flying Bird by Soderbergh and Tangerine) were shot on an iPhone. So, it kinda runs the gamut of what you can use to shoot something. A tool is a tool, how you decide to implement it, how you work within its limitations, all that falls to the creator. So... I guess to quote Avengers: Endgame (Shot on the the ALEXA65) Whatever it takes.
Glad to see you are making videoes again. Best of luck in the new year sir.
100 percent. Worry about technical mastery over the things you can afford and slowly upgrade. Story is always number 1, always.
Since college you are one of the best filmmaker.... keep it up bro and hope that i can see you in large budget films one day....
Ok question: so if I’m not mistaken, the FX3 is a Netflix approved camera, however, the a7siii is not but they share the same sensor. As far as compression and codecs go, what if i shoot with my a7siii but record to my Ninja V in ProRes RAW. Does that make my a7siii Netflix compatible now? Just something I’ve thought about for a while now. Thanks for this informative vid!
I believe fx3 is also not Netflix approved, only fx6 and fx9 are. There are some requirements considering timecode in/out, fx3 and a7sIII don’t have these.
My man, this was the reminder I need from time to time. As always, thank you.
Capabillities are there but ya right! The cut is hard to make unless of course rippin it up like you.THANK YOU
Creative and engaging delivery! Nice job D.
Need to mention, that - Francis, Ha! Was shot on the Canon T3i, because “blown up, it gives a 16mm look.” - Noah Baumbach. Who tested a couple dozen cameras before settling on it. It was also the cheapest camera out of all that he tested, and he had a sizable budget for the film.
Good to see you back and posting for the people to learn!
Good to see you again, D! Your vids are always informative and always worth the click!
It's always so nice to hear this. In a world saturated by tonnes of expensive gear, it's easy to let the gear dictate how successful you are.
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Glad to see this on my feed! Merry Christmas, hope all is well, and you're looking good!
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I have two indie films streaming on tubi tv, plex, and XUMO. Cameras that were used, were Nikon D3300, Lumix DC-GH5S, and Sony a7 III. Use what you have and make a feature film, I did.
the Panasonic BGH1 and the S1H are in the list of Netflix approved cameras, the S1H being a prosumer hybrid camera body with some video centric features, and the BGH1 is just a box version of the GH5 to make it easy to rig.
Both are easy to get for "amateur film makers"
But even if your camera doesn't have the "cinema" or "video centric" words attached to it, even cameras like the Fujifilm X-T3 are used for Hollywood level productions for when they need good quality with a smaller footprint
People going in saying "these aren't real cinema cameras" are just gate keepers
Can you elaborate a little more on the codecs aspect? What codecs does Hollywood use?
Great video as always... we're finishing a movie with a BMPCC, which is in kind of the middle ground between prosumer and low-end pro. Until now, I'd say it is looking really good; we'll see in 2023 what happens 😶😐😱.... thanks for posting, you're videos have been really helpful, technically and inspirationally!
No matter what happens you're on the right track seven 💪
@@D4Darious the thing is that there’s dslrs and cinema cameras and the bmpcc is cheap but it is technically a cinema camera which does the job almost as well as an alexa… so if we’re a dp on a budget, i would prioritize lenses so much more over cameras, especially because you can do so much in post about the effect the camera has on the image, but absolutely not about the lenses…
Da King of Filmmaking is back!! Love your Patreon btw!
PS. You kept saying Pro Cinema Cameras for non-bigboy-cameras, did I miss a joke or is it a mistake?
Thank you Martha. I sayed prosumer level cameras vs big-boy cameras 💪. Apologies if that was confusing.
@@D4Darious Oh yeah, thank you! I just kept hearing Pro-Cinema
Keep it going D!
What happened to the audio at 3:15? from full immersive enveloping sound dropping to some guy chatting in a cupboard
Watching this video is an instant suscription to your channel. It tells me the huge quality of your content
Part 2: You can make movies with a smartphone! 😂😂😂
You forgot about Tangerine which was shot on an iPhone 5. That's my favorite cheap camera anecdote. The only thing holding you back is writing a good story, as you can shoot a compelling film on just about anything.
I like keeping the right step that you are on fresh in mind cause when you are on step 3 step 106 is a little far out.
Just go shoot, then shoot some more with what you got til you get more
This video just blew me away. Slick, engaging and informative. You really made your point.
Remember the *Go Pro* shots used in *The Hobbit - The Desolation of Smaug*
Lars Von Trier used a GoPro for the cave scenes at the end of The House That Jack Built, Soderbergh and Sean Baker shot features on an iPhone, Baumbach and Aronofsky have shot large segments of films with Canon 5D/7D, Lynch shot Inland Empire on a Sony PD150, etc.
The movie Like Crazy and the original The Silent House both filmed with 5D mark II. Both shown in movie theaters. The only thing that changed was these companies standards on what they want used. I feel anything that shoots decent 4k could be used. You just need to more effectively craft your shots and lighting.
And don't forget, ZACK SNYDER'S JUSTICE LEAGUE was shot in the 4:3 aspect ratio and not the regular 16:9 aspect ratio. Meaning, you can do whatever you want if you have the creative confidence in your idea and know how to work with WHATEVER camera you have. Remember, the 'normal going public' usually has no idea on what goes behind those cameras. All that matters to them is the END RESULTS.
@@securityg Exactly my thoughts and my above examples of films shown in theaters filmed with the 5D mark II. When that camera came out and the T2i as well. People got excited because they could finally make a film with interchangeable lenses in really good High definition. I didn't even know dslrs could film in HD until around the middle of 2011. I had been struggling on getting a new camcorder or a dslr to take high quality stills. Once I found that out I studied up on diffeent dslrs and then decided on the T3i. I felt like I had a pro camera body despite it just being a Canon Rebel. Lol
Good video. Tangerine was shot on iPhone 5Ss with custom lens attachments. If you have an idea that resonates with people, film it with whatever you have.
You just deliver mate, everytime. Happy holidays, was good to see you and thanks as usual for the content. You do have point. Just shooting on an R7 and R10, but I am a one man show so those things have to work. And they do, for what I do. Have to work on story telling and stuff though…😅😂 Cheers mate
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Wow, happy I found your channel. Your product here is sooo well made. Engages 100%
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Glad I found your channel! Wonderfully executed! God bless and a peaceful Christmas to you and your family!
Panasonic UX-90 is pretty sweet, it produces excellent detail and color.
Great ideas- awesome visuals- inspirational- cheers friend!
Context is key, absolutely.
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This is why blackmagic is the greatest ever. Affordable, cinema grade and easy to use. And still lightweight. But wayyy better than any dslr in the world
Lovely video.
I filmed my FIRST short movie with a Canon 6D and I just won a "best independent film" in New York, and 4 more awards worldwide.
So I TOTALLY agree with you.
It's not a matter of the tool in your hands, but WHAT YOU DO with that tool.
And don't forget, ZACK SNYDER'S JUSTICE LEAGUE was shot in the 4:3 aspect ratio and not the regular 16:9 aspect ratio. Meaning, you can do whatever you want if you have the creative confidence in your idea and know how to work with WHATEVER camera you have. Remember, the 'normal going public' usually has no idea on what goes behind those cameras. All that matters to them is the END RESULTS.
I use a Lumix S1 for my independent work, but when I have a film with the budget, hell yes, I am going for an Arri with some Master anamorphics, Zeiss Ultras, Leica Summiluxes or whatever serves my story the best :)
As an indie filmmaker, you are limited by the nature of equipment you have access to, lenses not the least amongst those
At least Panasonic has so many useful features down ported to s1 lines, in my opinion even more of cinema camera than an a7s3 or fx3/30
@@frankhu8692 I've only used the S1 and GH5 in Panasonic lineup, the image is definitely gorgeous and the dynamic range is incredible. I cannot compare them to Sony as "more" or "less" of a cinema camera, however. If I had to shoot slow motion, especially with lesser light available, I would definitely go with a7S III / FX3.
As D4Darious pointed out in this video, you can make "cinema" with any of these cameras, including the now-ancient 7D and 5D line of cameras :)
@@jayforcinema for me it depends on functions, such as the same interface style as varicam and eva1, anamorphic desqueeze, shutter angle, and the cinema vlog, sony fx line's slog is different than that of their cine variant, and they lack so many features, their high iso performance is also more for wild life documentary instead of filmmaking
@@jayforcinema there is nothing called "cinematic", such a vage word, i am focusing on function and sensor type, a three chip stacked sensor that fouces on lattitude, dynamic range, and color from ARRI is different than a photography cmos for sure, and the functions speak for themselves, if u still don't understand these, then you are not deep enough in the cinema field
@@jayforcinema Regarding his video, i strong oppose it, becasue those who reject hybrid are not trying to say hybrid cannot shoot, but simply trying to alart those who are really into and want to produce the best image with effeciency that, hybrid is not main stream, nor it is the best or the proper solution, is a good entry point though, nowadays no one is boasting ARRI, it is sony and other hybrid camera brand who continue to boast only high iso performance and auto focus to be equal to good cinema camera, in my perspective that's bull sht
Really do appreciate these videos and the motivation bro!
Noah Baumbach's 'Frances Ha' is another good example - 5d mark ii
Always good to see you posting good informative content. Hope all is well with your health.
Every time this guy uploads a video is an event for me
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Context is everything! Ty
I guarantee any good DP could create amazing shots on a DSLR. And plenty of films are shot on expensive cameras and still look like absolute garbage. We should be striving to have such good cinematography that it doesn't matter what camera we use.
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Thanks for this video and Happy Holidays, Darious!
Thank you IAG. Same to you, Fam.
Cool info, I’m on an m50. Started researching this after hearing about the Netflix list and last night was thinking, what about Hardcore Henry. Shot on a GoPro. But it’s not streaming on Netflix. Though another service does have it.
Put these editing BTS on your Patreon. Its great.
I do think it’s a bit of generalisation that it’s only films from big companies. So many low budget films are still shot on industry standard equipment. Shooting on prosumer cameras will save money but it will not match up in how much it would slow a full camera crew down
Dude! Love the energy! I hit that like, and now a subscriber! Happy Holidays!
I have a Sony A7III and... you're not wrong. I cannot for the life of me get that thing to not overheat! There are of course location temperature variables but the best I could get it to was about 35 minutes continuous shooting at 4k. At worst, it overheated in 15 minutes, again at 4k. But if it did not overheat, I could definitely get passable quality movie footage because I don't buy cheap quality lenses. But yeah, none of thay matters if I can't record footage! 😖