that's actually not correct. You can buy "the proper camera" (and lenses) if you have the money. For instance, the AMiIRA would get you really far, covering a relatively large niche, and same is true for the mini S4s. But again, I'm not going to take my AMIRA and S4s to a production with shity logistics and which can't afford to pay me for it, since I've invested over 85 grand in keeping a tight nice package, not counting what I pay monthly for insurance, storage space and maintenance. So, back to square one, GET PRODUCTION TO RENT THE PROPER GEAR, FOR THE PROPER JOB. THAT WILL ASSURE YOU THEY HAVE INSURANCE AND COMPETENT PEOPLE AT THE HELM.
Now, I would like to move on to another (related) topic. Most (90%) Producer who say they don't have money for the camera (and lenses, and dolly and bartech, and, and, and...) when they are pressed hard to come up with the money, YOU'LL FIND OUT THE MONEY WAS ALWAYS THERE. What actually happens, is that most of these little guys don't really know what they are doing, so after making a deal with the client, they find out the have sold themselves for pennies. So in order to keep any money at all (because they had mistakenly budgeted his own production) they have to nickel and dime you, the camera guy. So they start "do you have your own camera?" or "can you bring your own lighting" and so on. It's not that they are trying to scam you, it's that they have very little idea of what they are doing, and at the end, the one who carries THEIR MISTAKES on his/her shoulders, is the cameraman and the crew. Which brings me to the last part of this subject matter: you can see clearly when a kid is desperately trying to make ends meet, learning on the process, by trying to make his own film. These kids don't have a "client", don't have a "sponsor", they are just plain honest, hard working filmmakers with a dream. For these kids it's absolutely worth it to go under, to bring in your own camera and lighting and even to pay for your own food (I've done it). These kids, the next generation of filmmakers, deserve the support of all of us, and to be allowed to learn by doing. NOT SO PRODUCERS WITH A CLIENT. If you are a producer with a client (or a GRANT, or with a TAX BREAK FROM THE GOVERNMENT) YOU SHOULD KNOW YOUR SHIT, no matter how independent-low budget you may be.
If they have no money to pay for a camera, just turn them down. A "Producer" who wants to film something without money for a camera is just a plain liability.
Hilarious!! according to Guy McLoughlin, who calls himself a Video Producer, "the DOP is serious and experienced if they own a decent camera with a basic lens kit". What he's actually saying is that a cheap, amateur producer who's not professional neither serious, expects to save money by making the DoP PAY for what the producer can't pay, because he has no clue about how to raise funds and how to fund his own film. On the other hand, DoPs exist from a huge range of different types: they are the DoPs who own all kind of gears, the ones who own only gear they like to experiment with and DoPs who are all the time recycling their gear, so they find themselves with no gear many times at some point. The issue here is, a PROFESSIONAL Cinematographer would recommend what type of camera, lenses, accessories, support, dollies, and workflow are necessary for a certain type of script and production budget. That's what rental houses are for, because each script when paired with each budget and logistics, call for different cameras, lenses, lighting and workflow, so you go to the rental house and GET WHAT'S RIGHT FOR YOUR OWN PRODUCTION. Amateurs like Guy McLoughlin want DoPs to have their own gear, no matter which one, whatever, as long as he can use it, so he doesn't have to learn the process of raising funds for his film.
So, basically what we the ones who have been doing cinematography for decades have been saying already for 6 years: that the only serious alternatives for a cinematographer, are Arri Alexa, Film Stock, Zeiss Ultra Primes, Master Primes, Cooks S4s and S5s, Panavision Primos, and just a few other tools.
So, this is exactly the same landscape than 15 years ago (just with a few additions and little change). So much for the digital revolution. A huge marketing scheme with just a little bit of true.
If this is true, it would mean the dead of cinematography and photography as well as the final triunph of shity videographers and all those who "run a business" with a camera.
This is the road towards the end of an art form. Just imagine how the art of lighting and creating moods and aesthetics with lighting will be lost, since all you'll need is "point and shoot". Pretty much what "videographers" do nowadays.
Oh man...again advice for wedding videographers...but very nice picture though. Congrats!