TLDR:
TLDR: Don’t be fooled by video cameras with excessive accessories. A skilled videographer can create high-quality content with modest gear, while an inexperienced one may hide behind expensive equipment. When choosing a video production company, focus on their skills, experience, and the quality of their previous work rather than their equipment.
Beware of Overdecorated Cameras
When you see a video camera decked out with lots of fancy accessories, it might look impressive, but it doesn’t necessarily mean you’ll get better results. In fact, an overly complex camera setup can sometimes indicate that the operator is trying to compensate for a lack of experience or confidence.
Many camera accessories, such as matte boxes and follow focus systems, are only truly necessary for extremely high-end productions where saving a few minutes on set can save thousands of dollars.
For 99% of video shoots, these extra accessories are more for show than any practical purpose.
Speaking from experience, these extra accessories slow down production and limit the number of shots you can get. The camera takes longer to set up, becomes more unwieldy, and having a camera weighed down with add-ons increases fatigue on the camera operator, which can lead to an attitude of just wanting to get the shoot over with.
If you encounter a videographer with a camera that looks like it belongs on a Hollywood set, but they’re working alone or with just one assistant, be cautious. You’re paying for all those accessories and you’re likely getting a lower quality final video because of them.
Ask to see previous work and pricing
When looking for a video production company, ask to see examples of previously completed videos they worked on that are similar to what your video will be about. Also, don’t hesitate to ask what the budget was for the video they show you and to shop around to other production companies. Picking out a production company can be overwhelming when you’ve got no idea what all the technical stuff means. That’s why we offer a no-cost second consultation. While we would love to work together if our specialties line up with your goal, we want to make sure you’re getting a reasonable deal even if you go with someone else.
Personal Story
I was working as a subcontractor on a video production one time. My role was just to record timelapses and drone footage while the main video production company would come in and record the owner of the facility for a promotional video. When the main production company showed up, they pulled out a $50,000 Arri camera. I was obviously impressed seeing something so high-end but knew the reason they were using it on this shoot wasn’t for the client’s benefit.
While those cameras are nice, they’re also a status symbol in the video production world. It’s basically the equivalent of someone driving a Lamborghini to go to the grocery store. Yeah, you can use that, but the groceries you take home aren’t going to be any better.
Another reason I think they used that camera was because they personally owned the equipment and knew the client could afford to rent it, so they used the most expensive piece of gear they had and charged more for the shoot. They could say it’s the best camera available which is probably true, however an end user wouldn’t be able to tell the difference between the $50k camera and a $3000 camera as the video below demonstrates.
Wrapping up
Conclusion
In conclusion, when choosing a video production company, focus on their skills, experience, and the quality of their previous work rather than the equipment they use. A skilled videographer can create high-quality content with modest gear, while an inexperienced one may hide behind expensive equipment without delivering the desired results. By understanding this difference and asking the right questions, you can ensure that you get the best value for your investment in video production.
Cameras Playing Dress Up I first got into making videos around 2001 or 2002, during the days when tape-based camcorders ruled the world. News stations had high-end cameras like Betacams that were so large you could basically wear the camera on your shoulder. From the perspective of those starting out, these cameras made it seem like you were a professional who knew what you were doing. With the advent of mini DV-based camcorders, especially the prosumer versions that used the same imaging sensor technology with separate sensors for red, green, and blue color channels, we could approach the image quality that news stations gathered for around $2,000 vs. $20,000 for an ENG camera. The internet was a far smaller place in the early 2000s. YouTube didn’t exist, and the only real ways to learn about camera technology were by going to school for it (expensive), working in the industry (impossible unless you moved to a bigger city and had a way in), or buying a camera and spending time each day browsing forums like dvinfo.net to see what others in the industry said. This brings us to the concept of “Cameras Playing Dress Up,” which is more about human nature than anything else and remains the same today. We encounter this in our everyday lives – when you see someone in an exotic sports car downtown or wearing an incredibly fancy suit, you’re generally seeing someone trying to look a certain part to gain respect. Most of these expensive items are generally impractical, but people still buy and use them to portray wealth, success, and authority. Basically, these people are playing dress up and peacocking. This same concept holds true in the video world. Back when I was learning about cameras, people on message boards talked about how they thought no client would take them seriously because they were using mini DV cameras. They discussed making their cameras look larger by adding matte boxes, external microphones, and even lights. While this may make the cameras look more like what you’d expect a news camera to look like, these additions served no purpose other than to try and give the camera operator more confidence. Nothing says “professional” more than a matte box, which you see on the front of lenses with Hollywood cameras. While they serve some purpose on extremely high-budget shoots where time is money, in reality, for 99% of the time you see one, they don’t serve much purpose other than to increase a camera operator’s confidence or slow them down. If you see a matte box indoors, it’s almost strictly for looks. As I mentioned earlier, inexperienced videographers would dress up cameras in the early 2000s to hide their lack of confidence, and the same holds true now. While online message boards have largely been replaced by Reddit, we see the same things on the videography subreddit – people “rigging” or “kitting” out their cameras to look more professional by adding matte boxes, lights, microphones, follow focus systems, and monitors. To summarize, if you see someone with a camera that looks like it belongs on a Hollywood set when there’s just a crew of one or two people recording in an office, that camera setup is probably more for show, and you may end up with a lower quality product. Much like the peacock has a bright bouquet of feathers designed to attract a mate at the expense of mobility and energy, the same is true for cameras with fancy accessories.