That's an insane amount of money. No undergrad education is worth $300,000. With that kind of money laying around, I would send her to the best state college in your state and then spend the rest flying her to networking opportunities like film festivals, New York student productions, LA student productions, Vancouver productions... There's huge world of production outside of New York.
Or send her to live in California to attend a community college for 2 years and then transfer to UCLA.
It's true that going to NYU gives you access to all kinds of networks, but so will working at a Manhattan camera rental house. The question is whether your daughter is willing to drop any sense of shyness and network like a real professional because that's what it takes (plus talent). And think about this: a lot of kids change majors two or three times during college, are you prepared to spend $300,000 on a sociology degree?
Great article and vid.
Definitely something you would want to into your local law enforcement, sit down with the sergeant or captain and have a nice long talk about the pros and cons. If you're not good with people, hire someone who is.
Speaking only from my own experience, police like anything that makes their day more interesting in a positive way, but they also HATE surprises. Especially if it's a big swinging arm on top of an Audi.
You can also mount a tilt-shift lens to the camera and position the camera off to one side of the mirror then use the shift function to move the scene onto the sensor. Canon and Nikon both make T/S lenses.
It's not the technology that's important, it's the knowledge base that matters. Great Steadicam operators are the prima ballerinas of the film world, but, they are drawing on the patient work of camera operators all over the world developing techniques and sharing secrets for the last 30 years. In other words, what you see on set is not a person, but an embodiment of the collective wisdom of two generations of cameramen and women.
So I think we'll see the gimbal people replace the Steadicammers over about the same time period.
Nikon's 35mm 1.8 is an awesome lens. But it really does get back to looking at what you've shot so far and figuring out which focal lengths you use the most and buying those as primes.
And are you sure it's the kit lens that is holding you back? Are you using your lens hood and shooting at its optimum aperture? What don't you like about it? Even if there are some things you don't like about it, there's usually at least one focal length on a kit lenses that is great, see if you can discover it.
Finally... don't forget that most affordable lenses look about the same once you get to f/4 or f/5.6. Are you shooting at wider apertures than this?