I was in a similar position, trying to manage a clunky BMPCC rig for jobs that, really, just needed a traditional video camera. I got a C100 mk2 and life became so much easier, for the reasons Matthias mentions. Imagine, as a BMPCC user, being able to 'forget' about power, card space, monitoring, ND filters, audio... everything is right there. You'll miss the BMPCC image, but you can hang on to that camera for special projects with more time.
With respect, the lazy thinking happens when we assume that male-dominated industries simply show that men have taken an opportunity and women have not. I'm afraid University graduation just doesn't show what working life is like for men and women. Everyone can see that top jobs are usually awarded by men, to men - which is the point being made here.
I don't think it discredits the achievements of white men in the slightest to acknowledge that the film industry is much harder for other groups. And women-focussed awards/festivals aren't referred to (by most) as sexist because they are a drop in the ocean.
I don't think anyone else sees that either. The point is not that women should receive awards because they're women, but that there are numerous ways that women are discouraged from entering the industry or having key roles, massively reducing the chances of a female oscar-winning director.
If you're starting out and aiming to cover all bases, I suggest getting the best used desktop machine you can afford, keeping your camera/lens, buying a cheapo external monitor with waveform/false colour, then setting yourself a series of weekly/monthly projects to learn from. This might be volunteering with friends, local bands, shooting stuff in public, whatever.
Avoid gear reviews/tutorials online for a few months and, instead, soak up videos/posts about composition, colour, camera movement and exposure.
Go and find cool places to film. Public festivals, street performers, dance, people doing interesting things. And learn how to capture good audio.
After a while, you could have some important skills under your belt, know how to compose and expose shots in different situations and have a cool showreel.
Hi Jacob. Yes, I agree with Arthur - you should aim for a single reel with a good mix.
I think the snag with reels, from a client perspective, is that they don't really show the ability to 'tell a story', as the cliche goes. Or show audio skills. For a solo video business, those two skills really seem to make all the difference for short, doc-style work.
I would consider showing the reel alongside your best, short piece in full.
Hi Jacob. Some very nice shots - well done. I guess it depends where you're based and what sort of clients you want to attract, but there was a strong theme of Jewish ceremonies throughout. If you're hoping to show breadth (which is often the case with showreels), I would consider grouping those shots together and including other work, perhaps from your talking-heads interviews, maybe more from the fencing shoot? This might give more momentum. If you have a more niche aim, this wouldn't be an issue.