Documentary filmmaking may seem complicated initially, but it can operate within a budgetary constraint. The assumption that a documentary can only be made with a big budget and state-of-the-art equipment, is just a myth.
Several successful documentaries did not need the best equipment in the market and had to improvise — which is where we see the versatility of equipment. One such example is the American documentary I Will Dance, directed by Joseph East, who stated that a smaller camera allowed him to capture some interactions and moments without drawing much attention to himself. This helped maintain the film's authenticity.
Considering that most times, documentaries are clips of moments that cannot be repeated or staged sewn together, lenses that can switch from wide to close-up shots are often a good fit for films with budgetary constraints.
The Canon EOS C100 Mark II is considered one of the best for making documentaries. It has XLR inputs and reliable autofocus mechanisms, and the sensor can put out high-quality images in low-light settings. Some recommended lenses for DSLRs for the early years of filmmaking are mid-ranged ones like the 24-105 mm or the 18-55 mm.
Experienced professionals usually use prime lenses and have the luxury of a higher budget. For newer directors, zoom lenses serve the purpose best. Documentary filmmakers with a higher budget often opt for the Canon EOS C300 Mark III. Bad Press directed by Rebecca Landsberry-Baker and Joe Peeler which premiered at the 2023 Sundance Film Festival is an example of such a film.
Another important aspect of documentary filmmaking is sound and sound design. The importance of this aspect is debatable, but its vitality cannot be denied. Much like with video for documentaries, you don’t get a second chance to record the audio. There has to be immense reliability in the equipment. Filmmakers require long-range microphones like shotgun microphones (the Sennheiser 16 or the Røde VideoMic Pro), or boom microphones for decent audio.
At the end of the day, the equipment simply has to supplement the content that is being documented. The equipment has instrumental value, whereas the subject matter has intrinsic value. The latter is dependent on the former so that justice is done to the story being told. Whether it is one handheld camera or a multi-camera setup with fantastic acoustics, what speaks eventually is the story and its treatment.
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