Kit and Kaboodle

my recommendations for indie film making gear

-or-

 where to start

Before we get started on the list of things that I recommend for an indie film maker or photographer, I want to say a couple things. My recommendations are based on personal experience and what works for me. There are a lot of options out there, and my way is ONLY a suggestion. HOWEVER, my work speaks for itself. This is only to establish that I have some idea what I am talking about. While I will mention specific pieces of gear, the point of said gear will be in bold italics.

Canon t2i.

1) Camera. I, personally, recommend the Canon D series of cameras. My baby is a Canon t2i. My reasons for choosing this camera are manifold. IF YOU ARE A FILM MAKER: Especially a film maker with limited funds... I will say this is the camera for you. With the magic lantern firmware add-on, the functionality is AMAZING. With a little knowledge of composition, and lighting, this camera and its sisters the t3i, 7d, and 5d mk II, can and do compete with the heavy camera hitters such as the Red Series of cameras. Now, I am NOT saying that it competes at the 4k resolution, but since most of the current theatrical displays are at 1080p, you're not at a dis-advantage. The imaging hardware produces smooth running files at 1080p and 720p and allows you to shoot at 24 frames a second - one step closer towards the coveted film look. The fact that the camera has interchangeable lenses with a wide selection of capabilities, and decent low-light capabilities make this camera a natural choice for the indie film maker. Don't get the kit lens. Save yourself a headache and get an after market lens. More about those in a moment.  As a photographer and film maker, this camera makes me extremely happy.

If you don't have the scratch (dosh or cash) for a camera of this magnitude... I give you the following advice - buy a camera that gives you the manual controls. My t2i can shoot full auto, and that has come in handy at events when things are going too fast to keep up with them, but the best photos are manual.

www.pcworld.com listed the top ten point and shoot cameras with manual controls here. I won't go into the pros and cons of each, but if you want to capture amazing photographs, you need to spend around $300 or more. I know it's expensive, but not nearly as bad as it can be.

2) lenses: I am going to assume that you went with a Canon D series or a nice Pentax or Nikon in the same class of cameras. If you went with a point and shoot - please move on to the next entry. Lenses are important. I will repeat it because it bears repeating... LENSES ARE IMPORTANT. This glass is how you will view the world when using your camera. I prefer to use prime lenses. (A prime lens does not zoom) It has a fixed focal depth. So, to zoom in, you have to move your camera. However much of a pain in the ass it can be... the optics in the prime lenses are MUCH better and will produce a superior result. If you HAVE to have a zoom lens, DO NOT GET THE CANON 18-55mm... The color return (what colors the camera perceives) are not true and the optics are not very clear. You save about $150 on the camera by not buying it with this lens and a decent one (like this) costs $199... and you will get a much better picture out of this lens for an extra $49. The two prime lenses we use are the Canon 35mm f2.0 (about $400) and the Canon 50mm f 1.8 (about $100). I know... this stuff is expensive, but really, you won't regret it. If you are planning on doing any event photography I recommend either the Canon 500mm (about $140)(there is a rig that comes with a shotgun mount, which is sweet) or the Canon 75-300mm. (about $250) These lenses well get you RIGHT UP IN THE ACTION. I cannot stress this enough... IF YOU CAN AFFORD IT, GO WITH THE L SERIES GLASS... BETTER GLASS MEANS BETTER RESULTS.

3) media. Today's cameras need memory cards. Make sure you get quality media for them. If you are a film maker you want to get a speed class ten card. The D series of camera requires that you have a write speed of at least 20mb/ps. I am testing this card - amazon basics 16gig sc10 card. It runs about $20 and seems to be fast enough to keep up. I will post more on card performance later. The sandisk extreme is only a few dollars more (about $25) and I can verify that the card is more than fast enough. If you invest in an sc10 card, you won't have any problems with your photos at all. 


4) tripod. There are two different options here. Photography - you want to get a photography tripod. The motion on a photo tripod head is not as smooth as a video head, but has a photo foot (the part the camera sits on) that will flip side ways, allowing you to take photos that are portrait oriented rather than landscape. This combination and flexibility is important. I use this tripod on my photo expeditions (about $20) and have no problems. If you make films, then you need a heavier duty tripod with a fluid pan head. My partner uses this tripod and head for his rig. Mine is a bit more expensive, but I bought mine several years ago before the prices started coming down. A fluid pan tripod head has a set of gears with a viscous fluid in the casing that makes the movement much smoother. This is necessary for pans and tilts. You CAN use a photo tripod, but your pans and tilts will not look professional. 


5) Filters. Honestly, filters are where it's at. I bought a matte box and rail system for my camera, but rarely use it. It has it's uses, but there are much cheaper options for the DSLR shooter. There are a wide variety of filters that we use in production and in photography. I am not going to link specific pieces here, because the specific packages you want depend on the lenses you have. Lenses have, on the front of them, filter rings. A filter ring is a set of threads at the front of the lens. This allows you to attach filters to the front of the lens. Filters can do amazing things. The following filters are what I suggest for any photographer and film maker and can, with a little searching, be found on amazon for about $10-$20 per set.

• ND filters. This is a MUST HAVE. ND stands for Neutral Density. If you like a shallow depth of field (where one part is blurry and another in focus), then you want ND filters. To achieve a shallow depth of field, you have to have your aperture open wide. (more on this in the "Now that I have all this shit, what do I do with it -or- I just spent my college fund on camera gear, how do I keep my parents from killing me?" post) This lets a lot of light into the camera, making it hard to get a decent exposure without blowing out the image (blowing out the image is TOO MUCH LIGHT, Makes it all bright and stuff). Honestly, with stills, the camera will let you make the exposure faster. This lets less light hit the sensor, so you really DON'T need this. But for an indie film maker ND FILTERS ARE A MUST. They let you expose your sensor to less light with your aperture wide open WITHOUT IMPACTING THE COLOR. To find these filters on amazon.com find the filter ring size on the front of the lens. Take a look at figure 1. See that Zero with 67mm after it? That is the filter ting size. Look for 67mm NDfilters. Keep hunting around till you find a set with an ND2, ND4 and ND8 in them. I found my set for the Sigma lens for about $15.

• Polarizers. I could go into a great deal of explanation about how light and reflection of light works, but that would bore everyone and really defeat the purpose of this blog... So... I will give a brief practical explanation. Polarizers filter your light. They enhance the colors you are looking at, make the sky pop, and reduce unwanted reflections. There are two kinds. (more really, but I don't think that the others will really matter). Circular and Linear. Circular will just cut the light and give you one result. Linear polarizers are set up to only block light aligned a specific way. By adjusting the orientation of the filter, it lets you get different results. I recommend the linear. I found the linear for my Canon 35mm and Canon 50mm lenses for about $10 on amazon.com

Figure 1.

6) Batteries. The sales people at Blue-Shirt Big Box Retailer will tell you that you should invest in the $50-$80 Canon brand batteries and that the after market batteries suck. THIS IS NOT TRUE. I purchased three packs of these batteries (that's 6 batteries for $39). They work fine. Since I am on set a lot, I got tired of changing out the batteries every couple of hours, so I built my own battery system which gets about 15 hours of continuous use on set for about $100. That set has 3 of those batteries and each one charges in about 20 minutes.

Featured Article: The Naked Truth About Acting - part 1 by Teri Begin

"Acting is standing up naked and turning around very slowly." - Rosalind Russell

I have been performing, literally, for as long as I can remember. My first commercial, portraying a nurse for a hospital at the age of 5, sparked in me the thrill of acting - the ability to become someone else and escape from my own personal barriers, still drives me to this day. I have been blessed to have had the ability to work in all aspects of the Entertainment Industry - Theater, Film/TV, Commercials, Industrials, and Production - and can honestly say that nothing soothes my soul more than being on set - the energy, the creative flow, the like-mindedness of all involved in a project are like no other.

As an Actor and Acting Coach, I am often approached by aspiring actors, wanting to know "what to do" in order to be successful in the industry. If you, the reader, are still reading this, and have the same question, I'd like to give you a couple nuggets (vegan, of course!) of wisdom that I have gleamed over the years.

I would like to ask you a question - define successful? If your only goal is to be "rich and famous," may I suggest Medical or Law School. A true artist does not act for fame or fortune - those who enter this business with such pre-conceived aspirations will never make it. If your answer is along the lines of "doing what I love and doing it well," please continue reading. Acting is a passion - a deep seeded need to be a part of something bigger than yourself..knowing that no role is too big or too small...the willingness to act without pay or recognition, just for the thrill and experience...it is born within a person, and cannot be taught or conditioned. And when one meets a group of like minded individuals, magic happens. So, if you are still following along, and not searching the internet for internships at John Hopkins, congratulations!

For those who are serious about Acting, I'd like to tackle a couple things in this article, regarding your craft. First, no matter who you are, or how many plays/shows/films you've done, you still need training. Tom Cruise ? Hires a scene partner for each movie he does (and I know this from experience!) Bradley Cooper, Julia Roberts, Sean Penn? The Actors Studio. Brad Pitt? Works with private acting coach, Margie Haber. "But wait," you say, "I thought Actors were born, not made!" And I would agree - the ability to perform is an innate talent. But the mechanics of acting - learning to deepen your character - are ones that must be continually honed. My sister, Michelle, is a damn good RN and RT - she was always the healer and peacemaker in our family - but being a caregiver and having a natural tendency to want to heal didn't get her the position she has now as a Pediatric Oncology Nurse. Nope, she went to school...and went to school some more...and continues to take courses to stay on top of her field. Why would Acting be any different? If you're not willing to train, please don't waste my time, or the time of agents and casting directors.

Second, and please hear me on this one - you are not indispensible. You got a role? Great - just remember that there are probably hundreds, maybe thousands of people who would love to be in your shoes, and can act the part just as well as you. More than any other field I know, Actors are hired and fired based on word of mouth and professionalism. We have a saying in this industry - "if you are 15 minutes early, you are on time. If you are one time, you are late. If you are late, it is unacceptable" - and you WILL be blacklisted. Want to complain about another actor or talk about the director behind his back - we are a close knit family, and I promise you, you WILL be blacklisted. How do I know this? Because I've blacklisted people before - for unprofessionalism, for being late, for not following wardrobe requirements, for failing to learn lines, for acting like a diva on set...you get the idea. We are, by nature, a networking community and suspicious of new people - so leave the attitude in your car, or drive away. If, however, you are on time, come prepared, and are friendly and professional on set, you can expect to be welcomed with open arms.

Teri can be found on facebook HERE.

Her company, Controlled Chaos Productions can be found HERE and on facebook HERE

Talent Showcase: Jearl Vinot

Jearl Vinot is the owner of Cross the Bayou Productions and partnered with Savage Light Studios. With these production companies he has taken part in over 30 productions as Producer, Writer, Director, DP, AD, Camera and Assistant Editor. Two of his short films have won Best in Louisiana for Thriller and Zombie short at the Fear Fete Horror Film Festival 2011.

Tell us your story, what got you into film making?

I have always had a creative interest. When the Louisiana film industry was in it's infancy I was urged by friends in the film industry to consider doing background. After toiling over the idea for a few weeks I took the chance and applied to work on Benjamin Button. That experience changed me. I knew in just two days on set this is where I belonged.

I began building my confidence in front of the camera. I went on to work in many films with numerous stand in and featured background roles to my credit. Still, even with having three supporting role credits and being SAG eligible I was still not sure which side of the camera I belonged.

My mind became clear after talking to Jonathan Frakes on set one day. He told me how he loved acting but even as a principle you were still left out of certain creative processes. This is why he decided to become a director. To have his hand on the entire creative process. With that, I was convinced, I want to make films. I joined a 48 Hour Film team in 2009 where I met Kriss Hoffman. There was a connection we shared in our visions and we continue to this day sharing those same visions.

Tell us about your current projects and what you have planned for the future.

Currently I am working on three scripts. My vampire feature, is completed but under revision and my two other scripts, a ghost story feature and a episode in our zombie series, are on their way to completion. I'm looking forward to getting back to our zombie series and begin filming of our new comedy series which will culminate with a feature film we have been wanting to make for some time.

Who or what are your influences and inspirations in film making?

I am inspired by the methods of Alfred Hitchcock, the story telling of Dean Koontz and the acting of Jimmy Stewart. I am in love with bringing stories to life via film.

What is your ultimate goal and how do you plan on reaching it?

My ultimate goal is to bring joy to many with my story telling. To see my films on the big screen and the smiles, tears and fears of the audience. Ultimately I wish to be a director. Forming actors in roles to bring out the best in their acting abilities. We will keep making films to show our talents. We will make connections in order to broaden our audience.

Briefly, describe your creative process?

Something triggers a thought. That thought grows into a story. I read a script and see the whole picture noting where I feel changes made would enhance the story telling. I put together a scene with it's location. I look through the camera to determine which shots will best allow us to tell the story.

What is your favorite part of the film making process?

I have no real favorite part of film making. I love the whole process no matter how hard or enduring the process can be. If I had to pick, I would say directing the actors in telling the story and editing. Editing brings all the pieces together for the whole story.

What is your LEAST favorite part?

Weather conditions and frogs.

If you could give one piece of advice to aspiring film makers, what would you say?

Never stop growing and learning new skills. Watch what others are doing and see how they could apply to your films. I could go on but you did say just, “one”.

What one piece of advice would you give to actors who want a part in one of your productions?

Follow directions from the beginning. Make that effort to know your lines.

If you had the money to hire ONE person to do something for you in the biz... what would they do?
I believe we would greatly benefit with a marketing/publicist type position to assist us in building an audience and getting funding.

What is the one piece of gear you cannot live without?

My camera of course!

What piece are you most proud of?

“Killing Time” comes to mind first because it is a pivotal piece where we applied many of our new filming techniques, successfully, as it turned out.

Is there anything you've done that you would like to destroy all the copies of?

A certain 48 hour film I took part in at the beginning of my carrier.

If the Oscars were available for purchase, how much would you pay for one?

An Oscar is earned, I would never buy one for any price.

Why do producers feel that it is necessary to spend hundreds of millions of dollars to make a movie? 

While this is not necessary for all films I can see certain high budgets needed to bring reality to the production, ie E.T, Titanic, Transformers. But there are also many great films made with small budgets, ie Jersey Girl, It's A Wonderful Life, I could go on.

What is the meaning of life?

Live life to your fullest potential bring joy to yourself and all around you.

Other than this interview, what is the stupidest thing you've ever agreed to do?

A certain 48 hour film that I wish to destroy.

When the aliens land on earth, why will you be the first person they talk to?

Because I'm awesome and it's known throughout the entire universe!  

Mr. Vinot's award winning/festival shown work can be seen on YouTube here and his series "Project Z" on Blip.tv here.

Who am I, and why should you pay attention?

Here it is. The first entry. My intent for this blog is to produce a series of articles and essays that my team and I have been musing on forever. The original title of the series was, "A Director's Guide for Actors: Everything You Need to Know About Why We Do What We Do." 

When you read this blog, keep that concept in mind. In spite of some of the random stuff that will turn up here, that is my main focus on the blog. 

What can I expect? 

You can expect an honest portrayal of the process. You can expect brutally honest feedback and commentary. While I prefer to write with no small amount of humor, sarcasm, snark and fun... Sometimes, things need to be laid out in a way that you might not like. 

So... expect to hear it like it is. 

You can also expect interviews with other film makers, actors, coaches, directors, casting people, back ground, etc. There will be funny pictures, video clips and sometimes, plugs for independent productions... Certainly plugs for my work... but others as well. 

Why should I listen to you?

I know, you've stumbled on this blog and are asking yourself, "Who is this guy and why should I listen to anything he has to say?"

I am glad you asked.

My name is Kristopher Hoffman. I own Savage Light Studios, an independent film company in New Orleans, Louisiana. Savage Light Studios has spent the last 6 years turning out short films and we're starting on our first feature. in the 4th quarter of this year. 

But why should you listen to me? 

That's an interesting question. 

Honestly, you probably shouldn't. I'm just an Indie... I don't have the big budgets, I don't have the money to pay for people to do my casting for me... I don't have big budgets and have to do with shoestrings... if that... Sometimes, it's a fishing line budget. I can't afford massive explosions, don't rely on CGI... and in one recent film, had to use an actual tiny ufo on camera instead of graphics... I don't waste millions of dollars on things no one wants to see... I use fresh scripts, shoot my own stuff, edit, sound design... I have to get down in the mud and get my hands dirty... I don't ask actors to do things I wouldn't do (to the point of appearing in a knitted cap, and a tutu for a scene)...I eat the same food as cast and crew, and work 15-18 hour days... 

So, you can see... if you're trying to be a successful Hollywood director... you don't want to listen to me... 

However... if you want to know the ins and outs of indie production... if you want to learn what it takes to be an actor and impress the people you need to impress... if you want to see the nuts and bolts of the indie world... I might have a few nuggets of truth for you... Not many, but a few... (I don't want to get your hopes up and then let you down. Zero Expectation = Zero Disappointment)

Bragging Time

Honestly, I can only let my work speak for itself. It doesn't matter what I say... It is what I produce. Here are the last 3 pieces my team has turned out. (Yes, all three of these have one thing in common - that is just for this series).

If you don't like what you see here, maybe this blog isn't for you. Maybe it is. Just because you don't like my film making style doesn't mean that I don't know what I am doing, or more importantly, that I don't have information that can benefit you.

Secondly: People who work on my set want to come back. We have one family that has driven 2 hours, REPEATEDLY to play zombies on my series - Project Z. You don't have to take my word for it... I actually have testimonials!

"Working with Savage Light Studios is a more pleasant experience than

you would get on most Hollywood sets. The food might not be gourmet

catered, but you will be treated like a human being, with consideration and

respect. The crew is a fun group who go out of their way to make 

the experience as much fun as possible, given the long hours and

resets inherent in film making."

~Jennifer Scarberry

"I've had the pleasure of working with Kriss on set and he's not unlike some

of the other Directors I've worked for, Sylvester Stallone, Martin Cambell,

just to name a couple. He's hard but fair and wants you to give it your all.

I'd be glad to work with him again in the future."

~Shadoe Knight

"I have had the opportunity to work with many directors and

production crews in the industry, but very few match the talent

of Kriss Hoffman. Kriss is a brilliant playwright, and one of the

most talented directors and cameramen I know. He is a great

visionary in the industry, and a true professional."

~Teri Begin

Third: Unlike many Indies out there, I am producing. We are turning out our series, Project Z. We're starting on a couple new projects as well... and they will get released. No "shoot this and leave it to die in the shadows for my team.

Lastly, and this is, probably, the most important... We've made a LOT of mistakes... I mean... A LOT of them... but unlike some people... We learn from them... I never make the same mistakes twice... I assure you... I find completely new ways to mess things up. So, maybe... just maybe, you can learn something from my mistakes.