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Based at Pinewood Studios

3 rules for acquiring a digital cinema camera package:

Rule No.1 Be Realistic

If you are just starting, it’s vital to realise and admit that your initial work is not going to be a masterful work of art. When you watch it again in a year or two, you will see how dreadful it really is. Not that this is a bad thing by any means, you have to start somewhere. It’s just the truth of educating yourself in a new skill. It will take time to refine your talents. Due to the associated learning curve, it’s advised to never start shooting on the latest top of the class cinematic cameras. In its place, get the most you can afford while avoiding stretching yourself. Then learn the craftsmanship using that system. What you cram into your brain with your new system will carry over to the next cinematic camera system you buy as the basics are the same, only the hardware gets more complicated. There’s no need for 4k just yet, and 1080p will do you just fine.


Rule No.2 Think Long-Term

The one persistent thing in this industry is that your cinematic camera systems are eventually going to change and evolve to carry the latest technology with them. If you can have a long-term viewpoint as you buy the parts of your cinematic camera arrangement, you will be better off. Put your cash into as many bits of kit that will last as long as imaginable, and will survive your existing camera system. If you are going to buy a more luxurious arrangement, make certain that you have the business model to back it up.

Rule No.3 Evaluate the Tangible Costs

Cinematic camera makers can be very talented at concealing the actual costs of their camera systems. There are all kinds of veiled expenses that can start to add up and affect your tool bag and work ethic. As you see different camera systems, have a gander at the following subjects:

• Accessories: What do you need to have to really be able to shoot in the style you’re happy working in? Do you require all the bells and whistles, or can you survive with almost the bare bones.
• Personnel: How does this cinematic camera impact the extent and know-how of the crew needed? How does it also impact the lighting necessities and running costs/ budget?
• Post: How does the footage format effect the storage, workflow, and processing clout required to use it? What kinds of targets and turnaround times do you usually have to put up with?

All of these caveats can negatively affect your whole cinematic camera kit and business model as a whole, so as mentioned earlier, if you can have a long-term viewpoint as you purchase the parts of your camera arrangement, you will be much better off.

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