I write a lot about gear on this blog and firmly believe that a thorough understanding of gear (and the technical aspects of filmmaking as a whole) is crucial to the success of any filmmaker. That said, gear can sometimes get in the way of the creative development process, so finding the best balance between both sides of the craft is crucial.
When I first started in this business, I barely had any equipment. There were no movie cameras, no digital SLR cameras, and no money for the latest toys. Although frustrating at the time, in retrospect I am grateful for the limitations I was placed on because they forced me to develop my creativity more intensely than I would have otherwise.
As time goes by, I found that this sentence is true—— You don’t need resources, you just need to be resourceful.
The limited choice of equipment meant I couldn’t rely on technology and I had no choice but to develop my skills and learn the art of resourcefulness. This mentality has stuck with me over the years and is still part of the way I approach projects of all shapes and sizes.
So, with that in mind, the purpose of this article is really twofold –
First, I want to talk to those filmmakers who are just starting out who really lack resources and may mistakenly believe that this need prevents them from achieving their creative goals.
But on the other hand, I also want to talk to seasoned professionals who may not have a DIY background but who could benefit from stepping out of their comfort zone and finding new ways to develop and grow as artists.
Whenever a filmmaker asks me “When should I upgrade my camera kit?” my answer is always the same –
Maximize the technical capabilities of any gear you currently own until it simply no longer serves you.
This concept applies regardless of your starting point.
For example, you only have an iPhone – that’s okay… you can use it to work. Don’t assume you need another camera until you actually need one. Instead, figure out how to make your iPhone footage look better than most other people’s DSLR footage, and how to squeeze every last bit of information out of every pixel.
Doing this will force you to understand what’s important to you as a filmmaker and what’s not (functionally speaking), and where your real limits are, as well as where your self-imposed limits are. You have no choice but to develop your lighting techniques, sound techniques, blocking/framing style, and countless other elements that have a far greater impact on the cinematic character of your film than any camera can. You’ll be able to hone your techniques and original style without having to deal with some of the hurdles and costs of more professional systems.
Eventually, as your style develops, you’ll find yourself outgrowing your iPhone. You’ll be looking for some aesthetic features (such as shallow depth of field) that you won’t be able to achieve with such a small sensor. When you reach this point you absolutely need to move on to another piece of kit or your creative vision won’t be fully realized, then you can go out and buy the camera you need.
But now, if you start with a better camera, you might be a lot ahead. You’re forced to become resourceful and develop your own unique approach to the process while gaining a better understanding of what features you’re really looking for on your next camera.
You may not be so tempted to buy a top-of-the-line digital SLR or movie camera because you may simply not need all the features under the hood. Maybe all you need at this point is a used Lumix GH2 or an old 5D MK II, and the money you save by not buying into the hype can be used on more important things, like actors, locations, or post-production.
Perhaps more importantly, imagine how well you’d be able to push footage from any “new” camera you buy once you’re untethered from your iPhone…
Keep this mentality going until you graduate and start shooting with RED and Alexa, and I guarantee you that your creative abilities and toolset will be much stronger than someone who started out with a ton of cash and bought cinematic images.
At the end of the day, your technique will be what gets people noticed. This will differentiate your work from everyone else’s and give you a unique voice. This sound is exactly what audiences, festivals and creative representatives are looking for. They aspire to tell original stories through authentic, original perspectives.
But what if you’ve upgraded to a high-end cinema camera? Does that mean there is no room for technology to develop? Of course not. Your skill will continue to develop for the rest of your career (whether you actively try to develop it or not). If you want to shake things up and tap into those scrappy, resourceful ideas that often only come from working under extreme constraints, give this a try –
For example, try downgrading your package on your next personal project. If you own a RED, get out of your comfort zone and shoot something with a DSLR or mirrorless camera. Force yourself to squeeze the most quality out of your more limited tools and see what it does for you creatively. I bet it will inspire at least some fresh style ideas, creative workarounds, and highlight efficiency issues in a way you may not have experienced.
Filmmakers who have all the creative and financial freedom in the world often find ways to intentionally create limitations for themselves. They may choose to shoot the entire film with a single lens, or never shoot more than 3 angles of coverage per scene. Rather than hindering their films, these choices enhance their power and make them more unique. We have the power to create these positive limitations every time we pick up a camera or consider which piece of kit to buy next, so let’s all take advantage of this!
So finally…
Gear is not evil. Far from it. We are extremely fortunate to have access to the tools we have today and the opportunities this brings. It’s important to never fall victim to relying on these tools, and to always look for ways to keep challenging ourselves, no matter what new toys we may play with.
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