It is so sad to see NFS become what it is. I've been coming here for over 10yrs. It's been in my top bookmarks for almost as long and used to be a site I visited daily. Now I barely visit once a week and it's because the quality of writing has sunk to such disappointing levels. Clickbait headlines, poorly researched articles, nonsensical opinions and questions posed in a desperate attempt to engage and illicit discussion. There is so little authenticity and content of value any more.

This article is a prime example. Jason, I know you're trying but this whole piece is just lazy. You say you're not a tech person then you try writing a tech article. Why? It's clear you don't have the passion or knowledge for it. This article barely scratches the surface of the iPhone 12 rumors, regurgitates content from other sites and offers nothing of value for filmmakers. You couldn't even mention the rumored Lidar tech that will almost certainly be in the iPhone 12.

I feel bad for Ryan Koo. The site that he built is a shadow of its former self and it's thanks in large part to the senior writers (I'm looking at you Jason Hellerman and V. Renee) who time and time again have shown that they just can't be bothered any more.

Thanks so much Chase, thats super helpful. I'm super happy with the Lanparte stuff I have - its going on 2yrs old, has seen a lot of action and is as good now as the day I got it. The part of me that appreciates the aesthetic side of things is definitely leaning towards the Lanparte battery pinch :)

Thanks Fen for the info. I'm not too keen on the LP-E6 V mount adaptor as I kind of want the extra weight a V mount battery brings to my rig as a counterbalance.

Some great points here. Here's my 2 cents:

1. Be prepared. Do a shot list, storyboards, floor plans - whatever works for you. You can't ever be too prepared and the best thing about having a plan is the confidence it gives you. When things go wrong (as they invariably will!) your plan will help come up with an alternative solution.

2. Plan to throw out your plan! Curveballs come in many shapes and sizes. Be ready for them and if you're going to freak out, don't ever let your crew see it. You must be the calm at the center of the storm.

3. Respect everyone on your crew. Learn their names, show your appreciation for their hard work. If someone screws up, let their boss or the 1st A.D. deal with it because you have way too many other things to worry about. If it's your 1st A.D. or another dept. head who screws up, then take them away from the set - don't berate or yell at them in front of everyone.

4. As much as all of the above is true, don't try to be best friends with all the crew. They need to know that you're still the boss. When the light is fading and the pressure is on, you don't want those friendships to get in the way of getting the shot.

5. Understand that actors have a job unique to anyone else on set. They're putting their emotions out there and you are their only audience. This makes them vulnerable or even volatile at times. Respect the special bond that only a director can have with their actors and protect it with your life. Nobody should be talking to them about their dramatic choices etc. except you and it's crucial that you are the lone voice for them.

6. Have fun! Filmmaking is hard and stressful at times. Remember that you will only ever have one FIRST film, so try to enjoy the ride. You will make mistakes. You will almost certainly kick yourself over things you missed when you get in the edit room. Don't worry about it, you'll be better when you make your 2nd film.

The important thing to remember is that the comment voting system is to raise worthwhile comments in a thread to help searching for comments that have real value. No more scrolling and having to read multiple content poor comments. Also, over time, it'll help readers distinguish community members who bring value and knowledge. Personally, this together with real names now being used, is the greatest benefit - I've already Google-stalked a couple of the top commenters to learn more about them and their work :)

The thing to not do is to look at voting systems like this as a validation tool. Regardless of votes, popularity etc. it's a good thing to always think about what one is posting and to make a self-assessment as to its value to others.

Thanks again Ryan for doing such a great job with the relaunch. The few bugs I encountered in the first few days have already disappeared! :)

Kraig, there are many choices for film cameras. If you're just shooting tests and don't care about sound you can always rent an MOS camera (i.e. non-sound blipped) like an ARRI III or even an ARRI II. Going up from there, the ARRI BL4 is also an awesome camera (built like a tank) and it's super easy to load and thread up fresh mags. These are both 35mm cameras. Other options in the 35mm side of things would be a Panaflex, Aaton35 or a MoviCam although I'm not sure how available a MoviCam would be in your neck of the woods. The good thing with ARRI cameras as opposed to Panavision's is that its a lot easier to get an ARRI on a deal or even free simply because there are private owners. Panavision only rents so you HAVE to deal with the rental house and that means more money.

Super16 or 16mm will be an even cheaper option. I'm not sure how things are in England but here in Vancouver there are tons of privately owned ARRI SRII and SRIII cameras around gathering dust. Kind of a shame really...

The real cost for you won't be a 1 day rental of a film camera but the lab costs in developing/transferring to a digital medium. Still, worth experimenting with. Personally, I'd recommend you shoot a spec commercial or a short film rather than just doing random tests. Not much you can do with random test shots but at least with a short you can add it to your reel, to imdb, submit to festivals etc.