This is incredible! I wish these could be shown to every new class coming into every film school, and then again right before graduating. So much of everything that's said here is spot on.
I think the best point made in all of them (and ultimately the sticking point between art and commerce) is: "Would you rather be making wedding and corporate videos to pay your bills and then make creative films on the side, or work at Starbucks to pay your bills and then make creative films on the side?" The fact of the matter is, yes - film is an art, but more than that it's a craft. And if you'd rather be training your hands and eyes and feet to make the perfect latte over learning to expertly pull focus, or balance a gimbal, or set up dolly track, then good luck.
There is something to be said for burnout, and if you're the type of person that can't work on a set all day and then come home and still have the energy to do creative film work, that's one thing. But I'd honestly question whether this is something you want to do as a career or as a hobby. As the advice to aspiring filmmakers goes: "If you can do anything other than work in the film business, DON'T work in the film business."
I love Mr. Kaufman with all of my heart! Thanks so much for the great interview!
According to IMDB, this film had a 2K master...
It's really easy to get off topic in this conversation, and it's important to remember that this video is really only speaking about one thing. The way I see it, there are two different things being discussed/debated in these comments, and this video is really only examining the first one:
1. The business decision of purchasing a camera for business use.
2. The value of owning a camera for practice, experimentation, etc.
From a purely business standpoint, I think he's pretty spot on. If you have the disposable income, savings, etc. then go ahead and get what you want. But when it comes to spending money you don't have, then you need to make sure you have the financial side taken care of with a solid plan in place to cover all of the costs.
Where his message becomes a little jumbled is in starting out talking about making a film - which is typically more of a creative endeavor than a financial one. I think very few people on this site, even those who work in production, make money as a Cam Op or DP in the narrative world. I think it would have been better for him to keep examples of use to a more commercial/corporate level to keep from confusing the art/commerce line.
The value of having a camera to learn with is a totally separate topic. Yes, it's extremely important, but it's not what he's discussing. Regardless, I'd still say there's value in looking at the financial repercussions of such a purchase. A used T2i with Magic Lantern can go a very long way to give anyone the tools they need to learn what they like, are good at, and can push a camera to do.
Best advice I've ever heard about the over-under vs. over-over debate is this:
1) Know how to do both.
2) Ask your department head or someone in the know which way they do it.
3) Do it that way.
Both are methods of keeping the cables from being twisted and tangled, which ultimately shorten their lifespan as working cables. Different departments/companies/regions do it differently, so it's always best to ask.
I've always had a lot of luck using the battery caps as a marker. Cap = charged. It comes off when it goes in the camera, and stays off until it comes off the charger.