If you are an independent filmmaker you know the difficulty of navigating the world of limited budgets and resources. While it can be challenging, I find that—sometimes—limitations can lead to more creative thinking. Every equipment choice you make plays a pivotal role in shaping the quality and impact of your film. When you have limited resources, it forces you to plan much more carefully. In this article, we’ll dive into the essential independent filmmaking gear you need to either rent or buy, depending on your budget, while carefully balancing your unique creative vision with the practicalities of your project’s financial limits.
Essential Gear for Independent Filmmaking
Cinema Camera
Choosing a cinema camera used to be a painstaking choice as there were massive differences between the low, middle, and high-end options. Luckily, these days, the gap has narrowed considerably. There are now different factors to consider besides your budget. For example: Do you need in-camera stabilization? Will you be shooting in a darker environment and therefore need excellent low-light capabilities? Or will you be using artificial light?
When considering which filmmaking camera to rent or buy, the best option is the one that not only gives you the image you need, but is also ergonomically friendly, has a logical and intuitive menu system, and from a company with a track record of reliability.
Cinema Lenses
Lens Character
In my mind, the choice of lenses imparts a larger difference in the look of your image than the sensor. The first thing is character. Each lens manufacturer has their own distinct formulation for the way that the lenses interprets the light coming off the subject. This comes down to curvature, number of elements, and coatings, as well as other factors. This does not mean that all manufacturers’ lenses will always look the same either. Many of the larger manufacturers have been making lenses for a long time and have changed the way they approach lens design.
Focal Length
Aside from lens character, you also must choose your focal length. What kind of image are you looking to capture?
- Wide-angle lenses give you a large field of view and can keep more of your subject (as well as the background) in focus.
- Telephoto lenses can compress the background and separate your subject from the background by having it quickly go out of focus.
- “Normal” lenses —35mm to around 50mm — are the lenses that most closely represent the way we see the world through our own eyes. Each have different meanings when trying to tell a visual story.
Another factor to consider is the speed of the lens, or in other words, the ability to capture a usable image in low-light conditions when the lens is fully open at its widest aperture. This can also help with separation and isolation of your subject. The list of lenses later in this article are some new and notable manufacturers who are making waves in the lens market.
Lighting
While lens choice can make a bigger difference than the sensor, in my opinion, good lighting can elevate your image even more. Knowing how to light your film in a way that enhances the mood will more thoroughly engage your viewer. The choices that are now available to filmmakers are ever-expanding. For example, LED lights are getting lighter in weight with more output and color flexibility, even as costs go down.
One thing to consider when choosing between lighting for indoor versus outdoor is the weather-sealing of the unit. Look for its IP rating to see if the light can withstand some rain and dust.
Audio
Depending on your shoot, you may need to have a boom pole operator or wireless microphones for your talent. The ideal situation is to have both, which means you have redundancy in the event that a microphone’s audio is unusable. This can happen with either system: A boom can sometimes catch too much ambient noise. On the wireless side, you can have interference from a phone, or an actor can hit their chest accidentally hitting the wireless microphone attached to them.
With audio systems, you also need to consider inside versus outside conditions for recording audio. Microphones, like shotgun microphones, are better for outside environments as they have a very narrow pick-up pattern. This allows you to hear your subject more clearly at a distance.
Accessories
There are also many accessories that you will find invaluable when filmmaking:
- An external monitor with good exposure and focus overlays makes your shooting life much simpler and gives you much more information to make technical decisions.
- Using a tripod will allow you to get smooth pan and tilts. A camera stabilizer, such as a gimbal or Steadicam, can also allow you to move through space while keeping the camera steady.
- Having fast media with high capacities will allow you to record longer on one card and offload your footage faster, while also operating your camera at its highest resolutions and frame rates.
There are also camera arms, shoulder mounts, wireless transmission systems, and many, many more tools that make the job of a filmmaker easier, but for sure more expensive!
Camera Options
There are many different camera options from the camera on your phone that is in your pocket, all the way up to cameras that could also be a downpayment on a large home. Below are some great cameras at different price points, from budget options to high end for indie filmmakers. Note, I did not include the highest of high-end cameras such as the Alexa 35, the Sony Venice, or the RED Raptor.
Best Budget: Blackmagic Design Pocket Cinema Camera 6K Pro
Sporting super high specs and a miniscule price point, the Blackmagic Pocket 6K Pro, is a beast of a camera for not much cash. It has a super 35mm HDR sensor with a resolution of 6144 x 3456 pixels. This high-resolution sensor, in combination with its impressive 13 stops of dynamic range, allows for exceptional detail and rich color reproduction. The Pocket 6K Pro is capable of recording footage in up to 6K resolution at 50 frames per second (fps) or 4K resolution at up to 120 fps for buttery smooth slow-motion shots.
The camera also supports professional-grade codecs, such as Blackmagic RAW and ProRes, providing indie filmmakers with options for optimal image quality or efficient data compression, depending on their specific needs. Another notable upgrade from the original Pocket 6K is the addition of a built-in motorized ND (Neutral Density) filter. This saves huge amounts of time and allows for quicker run-and-gun type shooting.
Overall, the Blackmagic Pocket 6K Pro offers a compelling combination of high-resolution image quality, flexible lens compatibility, professional-grade video codecs, intuitive touchscreen control, built-in ND filters, and robust connectivity options. This is a huge amount of camera for an exceptionally low price.
Best Mid-Range: Sony FX6 Full-Frame Cinema Camera
The Sony FX6 has stormed onto the scene, easily becoming a filmmaking favorite. With a fantastic image, 4K recording, and a super lightweight body that has variable internal ND filters, this camera checks a lot of boxes for people looking for a solid mid-range camera. It has extremely fast autofocus, using a combination of phase-detection and contrast-detection autofocus for precise and reliable subject tracking. The camera also has great real-time eye AF and real-time tracking, enabling accurate and continuous focus on moving subjects.
The Sony FX6 supports internal recording of 4K footage at up to 120 frames per second. It offers a range of professional codecs, including XAVC S-I, XAVC S, and XAVC HS, providing flexibility in terms of image quality and file sizes. The camera also supports 16-bit RAW output via its SDI output, allowing for maximum post-production flexibility and dynamic range.
Furthermore, the FX6 incorporates S-Cinetone, a color profile inspired by Sony’s highly acclaimed VENICE cinema camera. S-Cinetone delivers rich and cinematic colors straight out of the camera, reducing the need for extensive color grading in post-production. I have found this to be a phenomenal upgrade and love shooting in this mode when I don’t need the benefits of shooting in Log.
One of the most useful features of this camera is the built-in electronic variable ND (neutral density) filter system, offering seamless control over exposure without the need for external filters. This allows filmmakers to maintain their desired depth of field and shutter speed in changing lighting conditions, making it easier to achieve the desired cinematic look. This saves massive amounts of time on set as switching ND externally is very laborious.
Another Mid-Range: Canon EOS R5 C Mirrorless Digital Cinema Camera Body
Canon’s R5 C has a great image and upgraded codecs from the R5, including RAW recording. The Canon R5 C can shoot in 8K — which is insane for a body this small! In order to deal with the heat issues that were sometimes problematic with the Canon R5, the R5 C has now added a fan to combat potential overheating. This now allows the R5C to record for unlimited duration in all its video modes.
Let’s now talk about the design of this camera. It is a stunning design that feels just right for this level of hybrid video/photo camera. It has great customizable buttons, an intuitive layout, and feels great in the hand. There are loads of options for customization of your camera. I highly suggest, if you get this camera, that you spend some time doing that as it will make your shooting so much smoother and easier.
Best High-End
RED Digital Cinema KOMODO-X 6K S35 DSMC3 Camera, Black
The successor to the very popular RED Komodo, the Komodo-X makes some major improvements including a new micro V-Lock system, CF-Express Type B cards, an upgraded RF-mount, and it now accepts DSMC 3 accessories such as RED’s touch displays.
The camera still has a 6K Super 35mm sensor, but it has been upgraded. It still has a global shutter that stops the camera from wobbling. It also has upgraded the dynamic range and the low light performance.
The modularity, form factor, and weight allow this camera to be easily handheld, put onto a gimbal, or a car rig. This is the perfect camera to pair with the higher end RED Digital Cinema V-RAPTOR ST 8K VV DSMC3 Camera, Canon RF, Black as a B Camera, or on its own as an A camera.
Lens Options
Lenses from DZO
DZOFILM Vespid Prime 50mm T2.1 Cinema Lens for PL Mount
This company is producing cinema lenses that are easily in the realm of possibility for people to own. The build quality is just as good as the competitors, while the price is similar to an equivalent photo lens. This particular 50mm lens is gorgeous, with a lovely image and a reasonably fast aperture of T2.1. Also, this package currently includes a free DZOFILM EF-Mount Tool Kit with Bayonet and EF Cap which will allow you to use it with either PL mount cameras or EF ones.
DZOFILM Vespid Prime 90mm Macro T2.8 Cinema Lens for PL Mount
This is a very versatile lens at a great focal length. The 90mm works best when you want to get a close-up that separates your subject from the background and makes them look their best. This is also a macro lens meaning you can get extreme closeups, focusing just on your subject’s eye. I love having a macro lens in my kit as this gives me options that standard lenses can’t produce.
DZOFILM Pictor Super35 Parfocal Cine 3-Lens Kit with 14-30mm, 22-55mm, 50-125mm T2.8 Lens for PL Mount and Canon EF, Black
When you have the budget and the work required to purchase a kit of lenses, this is a great set. It covers the entire range from 14mm all the way to 125 mm at a constant maximum aperture of T2.8. These are all zoom lenses meaning you can more quickly change focal lengths without having to change lenses as often. This set has minimal breathing and the lenses are parfocal which means the focus doesn’t shift when you zoom. They also have an interchangeable mount system.
Lenses from Sigma
Sigma 18-35mm T2.0 Cine High-Speed Lens for PL Mount
When Sigma created its Art Series lenses, they shook up the lens game. They produced beautiful lenses at a reasonable price. When they jumped into the cinema lens market, they made an equally large impression. While not a huge range, covering 18-35mm, this lens produces beautiful images, is relatively small, and has a constant T2.0 aperture which is plenty fast.
Sigma 50-100mm T2.0 High-Speed Cine Lens for PL Mount
Most cinema lens sets that an indie filmmaker will rent or buy won’t have a middle lens between the 35mm and 50mm focal lengths and their set rarely go beyond 100mm. With this 50-100mm lens, Sigma made a calculated choice to go for quality and consistency over trying to cover every focal length. I think it is a wise choice. This is an equally beautiful lens paired with the above 18-35mm. They both have an excellent maximum aperture of T2.0, great form factor, and produce stunning images that match very well together.
Sigma 24-70mm F2.8 DG DN Art Lens for Sony E
This Sigma Art lens produces gorgeous images while covering a very standard 24-70mm lens range. The aperture is at a consistent f/2.8 throughout the whole focal range of this zoom lens. While it would make sense to think this is the same as any lens with these specs, you need to check out the quality and character of the images produced by this lens.
Lenses from Tamron
Tamron 17-70mm f/2.8 Di III-A VC RXD Lens for Sony E
Tamron is a well-known name in lens manufacturing and their 17-70mm f/2.8 lens covers quite a large range from wide to medium telephoto. It does this all at a constant f/2.8 aperture which is amazing for consistency, bokeh, and low light performance.
Tamron 70-180mm f/2.8 Di III VXD Lens for Sony E
Stepping up to the next focal lengths of 70mm to 180mm gives you the full package of telephoto capabilities. This lens also has a constant f/2.8 aperture which, at this focal length and price, is a steal. This lens, in combination with the above lens, are extremely well paired to work together with the same maximum aperture throughout the full range. Covering a combined 17mm to a whopping 180mm, these two lenses give you a super wide range without having to switch lenses very often at all.
Tamron 18-300mm f/3.5-6.3 Di III-A VC VXD Lens for Sony E w/ Essential Acc. Kit
If you can handle a shift in aperture from f/3.5 at 18mm to f/6.3 at the furthest end of 300mm, this lens is a fantastic one-and-done lens. It’s great when you don’t want, or don’t have the time, to change lenses. With an even larger telephoto range going all the way to 300mm, this lens can capture anything you throw at it.
Audio Options
Sennheiser EW 122P G4 Camera-Mount Wireless Cardioid Lavalier Microphone System A1: 470 to 516 MHz
Sennheiser is the long-running king of wireless lavalier systems for independent filmmakers. While there are lower costs alternatives, Sennheiser makes what is likely the best professional quality lavalier set, while keeping budget shooters in mind. Before you get this mic though, make sure to do some research on your state or country regulations that might have open frequencies. You don’t want to get this mic and then have loads of interference.
Shure SRH1840 Premium Open-Back Headphones, Black
The Shure1840 is perfect for the filmmaker needing accurate-to-life sound either in the field or in the studio. These open-back headphones don’t introduce extra bass or alter the sound unnaturally. These headphones are also very lightweight, comfortable, and durable.
Turnstile Audio Station Series TASC700 Multi-Function Super Cardioid Condenser Shotgun Microphone
This is a highly versatile on-camera shotgun mic that you can use with your DSLR or mirrorless camera. It has a dial in the back that allows you to quickly change the microphone’s sensitivity, allowing for easy run-and-gun audio.
Accessories
External Monitor
Having an external monitor, especially when you have a DSLR, mirrorless, or any camera with a small built-in screen, will make your life much more enjoyable. Having a larger monitor of at least 5” and possibly 7” will allow you to analyze your work more carefully. Smaller details instantly become more recognizable, such as that edge of a light stand’s leg in the corner. These monitors also allow you to see better, with often higher brightness, resolution, and overlays for both focus and exposure. When you need to frame very precisely and makes sure everything is focus an external monitor is a godsend.
Some of the best companies currently making external monitors are Atomos, SmallHD, and Teradek. Atomos has the Atomos Sumo19 SE 19″ HDR Pro/Cinema Monitor-Recorder-Switcher which is a great client or director monitor. Small HD makes great touch screen on-camera monitors such at the SmallHD 702 Touch 7″ On-Camera LCD Touchscreen Monitor, 1500 nits Brightness, 1920×1200 which is very bright and has loads of menu options. Teradek makes the Teradek Bolt 6 LT 750 HDMI Wireless Transmitter and Receiver Kit, V-Mount, 750′ Range that allows you to send the camera signal to an external monitor wirelessly.
Camera Stabilizers
There has been a revolution in the camera stabilization game in the last ten years. Gimbals have been made much more affordable, smaller, while also more powerful. Companies like DJI are leading the way with the DJI RS 3 Pro Gimbal Stabilizer. This gimbal can hold a lot more weight than previous models and has more connectivity as well. The SmallRig FreeBlazer Heavy-Duty Carbon Fiber Tripod Kit is a great new, extremely affordable tripod option. Tilta has also come up with a ring to give more stability and control to an operator of a Ronin RS2 with its Tilta Advanced Ring Grip for DJI RS 2 Gimbal.
Memory
Making sure you have fast, reliable media with enough capacity for your shoot is one of the most important things to any filmmaker. When looking for media, make sure you check your camera’s specifications, type of card as well as minimum speed to operate at the highest frame rates and resolutions. You don’t want to get on set and find out your media can’t handle the 8K 60fps files being spit out by your camera. You should also stick to well-known and reliable brands such as Sandisk, Angelbird, Prograde, Lexar, Western Digital.
Conclusion
It’s important to keep in mind that this list is simply the essentials. There are many more items that can easily be added to this list in each of the categories. Filmmaking is about problem-solving as well as creativity. Going into a shoot knowing your gear is right for the job will help you feel more secure and give you confidence that you can solve any problems that may come your way.
