Best camera for a documentary?

Adam Symes · February 20, 2014

Hey hey, loving the overwhelming response guys! I used the EX1 for a camera test at the directors insistance, having shot a test scene on it. Frankly I can see that it's a really good camera but it's a video camera, not what I am looking for at all to be completely honest.

@Freya Black I have an AB to C Mount for my AB primes, did some research and found that a lot of mockumentarys are shot on super16, so I would like to use the Digital Bolex. I imagine I'll need to shoot the whole thing on a 12mm for the story for a deeper DOF and a better field of view. Any opinions on this guys? It's my first gig and if I do it well, it will go straight into a film festival in a featured spot.

I don't want to get this wrong, so would like to hear the communities opinions?

Adam Symes · February 20, 2014

@Stuart Brereton - at this point I am considering shooting the mockumentary on a S16 for the DOF, as i mention above.. and the film within the film on a full frame sensor, hard to say what though

Phil Rhodes · February 20, 2014

You can achieve a smaller effective sensor size (rather akin to a 2/3" video camera) on the Panasonic GH2/3 by engaging the "ETC" mode.

Robin R Probyn · February 22, 2014

You'll also need a shoulder mount, and viewfinder for the F5 too! The 50Mbps is nice of course but...

You make a really, really, really, good point about batteries tho. It's something people often don't consider and unless you are running off mains the whole time, it's really significant. The F3 and F5 both have really low power draw, I think something like 23watts as I remember. The F3 is even able to use fairly cheap batteries (not sure what the situation is with the F5 there).

I don't think the codec on the Amira is a problem as it's not that compressed, unless you mean you want it to be very compressed to save on storage?! The age of a codec is not a problem as long as it's a good codec in the first place! There are certainly newer codecs that are not as nice as older ones (AVCHD springs to mind!) tho I suppose it depends what you want out of the codec.If you are bothered by the data rate of the F3 then the data rate of the Amira would be much higher than even the Sony F5! If concerned about media costs, SxS cards for the F3 and F5 are also presently way cheaper and more available than the new CFast 2.0 cards for the Amira.

Not sure why you mention RED, definitely don't think RED is a good match for this project as 2K is not a strong point on RED cameras, aside from any other issues.

Freya

HI

Yes I guess I don't think of the F5 needing a VF,as in you don't need a 3rd party one.. F3/C300 VF is not a VF in a pro sense.. it just isn't even by being at the back of the camera if nothing else .. and shoulder rigs for the f5.. are nothing like the crazy frankenrigs for C300/F3 et al.. in fact no cables at all.. just the VF cable completely the same as an ENG camera.. 50 Mbps is basic broadcast is why I mentioned it.. which the F3 isn't .. yes true prores is good,thinking that the OP was talking about buying a camera..?

Basically the OP mentioned 2K and theater release and doc style.. at least.. there is control as its a mockumentary not a real doc.. the F5 is just head and shoulders above any others .. for the tight budget production.. in my opinion anyway !!! :)

Phil Rhodes · February 22, 2014

I think that a lot of modern camera designs are being somewhat compromised to get a 50Mbps codec into them. Any 50Mbps codec, no matter what.

I'd rather they didn't bother at all, and let me stick my own recorder on the back, if they're going to design to a number.

P

Robin R Probyn · February 22, 2014

I think that a lot of modern camera designs are being somewhat compromised to get a 50Mbps codec into them. Any 50Mbps codec, no matter what.

I'd rather they didn't bother at all, and let me stick my own recorder on the back, if they're going to design to a number.

P

Really. like what camera,s.. PMW500 is totally fine design as is PDW800.. F5/F55 are very well designed camera,s ..? don't think it has anything to do with design to have 50 mbps.. ?? just the guts insides .. C300 is a donkey with ergonomics of a kettle.. has nothing to do with 50 mbps.. Sony took flax for the F3 only being 35.. till they came up gold with the F cams.. just a bit late in the day as the C300 got in first and got a strong foot hold in the psyche of prod managers.. :D

Heri Rakotomalala · February 26, 2014

If you are looking for cheap (I read "minimal" costs), then C100 would be perfect for a documentary. Many colleagues using it for documentaries, it's a workhorse, no headaches and no need to have additional gear.

James Steven Beverly · February 27, 2014

"Best camera for a documentary?"

Well, they just shot "Samsara" on a Fricke 65 Time-Lapse, Panavision System 65 and a
Panavision 65 HR. I'd give one of those a shot. :rolleyes:

Edited February 27, 2014 by James Steven Beverly

Fergus O'Doherty · April 3, 2014

If you are going to end up with a product that will definitely be projected onto a big screen, why even debate it? Set aside the money in your budget for rental of a 2K camera and go with it. If you find that the overall production is going to suffer due to the amount of money you need to spend on camera rental - and all the post equipment if you use a RED - you may need to re-evaluate how realistic it is to utilize a 2K camera for the production.

I would also budget for S16 on paper and compare the figures with digital camera rentals, etc. You'd be surprised how nice a 2K scan of a standard 16mm negative looks when projected on a big screen.

aaawwwww.. man I was so happy to hear this..lol. I just got an Arri 16BL which I'm planning to use cause it's a blimped sound sync 16mm. Then I have a 35mm hand cranked which I've had a zillion comments on about how the fact that it's 35mm will be fantastic for enlargement to digital. So I'm a happy camper.