Cinematography : Canon Camera by Jermaine Nix

The T3i shoots RAW photos. It shoots 1080p HD at 29.97, 25 or 23.976fps and 720p at 59.94 or 50fps. Since it is a DSLR, there are limitations when working with it - like the limited audio capabilities (one 1/8 audio input), video compression (MPEG-4 AVC/H.264 wrapped in .MOV), a lack being able to adjust iris on the fly smoothly and the rolling shutter is bad for any type of action/sports. However, depending on the glass and how you light your horror film - it could look pretty good. Good luck!

I own a couple of T3i's and shoot with them for most productions. It shoots RAW but only RAW stills, not RAW video out of the box. For RAW video you will need to use the Magic Lantern hack. Also, for filmmaking auto iris and auto focus is useless and usually a mistake in any production, though it is getting better as I speak. For sound, go double system with a boom and recorder, though good sound in straight-on single-actor speaking situations can be garnered from on-camera shotguns tuned for the 1/8 port, or use a 1/8 to XLR converter. Over all, do it the professional way and shoot full manual and use a hand meter. Above all, take your time and expose and block and direct appropriately for your film! Best of luck to you.

Yes I heard the key is the lighting of the movie, lighting is what sets the mood of the film. Now getting the magic lantern hack is that some you can buy or is that something online you have to download. Also does the camera give a good movie like feeling or picture or is that when you edit it you have to do some grading?

I actually still use a Canon 70D and Panasonic AG-HVX200AP you'll want to invest in a good audio recorder to use with your T3i and some cine lens's even if its only something like the Rokinon T 1.5 Cine lens's and a follow focus if your budget allows. Just be aware of the limitations of your DSLR IE files over 4gb get split and depending on the DSLR it will not record longer then 12 or 29 minutes at one time with out having to hit the record button again things of that nature with proper planning and hard work you can in fact shoot a good movie

A popular combo that I'm seeing a lot on many different productions is the use of Mirrorless cameras like the Sony A7s recording on to a Video Device Pix-E5. 4k recording to a Prores file that is relatively cheap to buy/rent compared to the mid to higher end cameras out there.

I would also like to know more about The Magic Lantern camera, think I will google it. Your right Jermaine, Horror and Noir definitely need a certain kind of lighting.

Magic Lantern is a free download at http://www.magiclantern.fm - you can make a donation to help with development. Lighting is the key to a great looking film regardless of the camera. A film look from a video camera is a matter of controlling several elements, some on-set and in-camera and others in post. Shooting RAW helps with capturing the widest tonal range possible for your camera (film has a wider tonal range then video), so that is a big step. Cameras like Red and Arri capture a wide tonal range using different techniques; Red uses resolution as the primary ingredient (4K, 4.5k, 5K, 6K) and Arri uses a combination of resolution and bit depth. The Alexa is actually only about 2K rez but captures 16 bit color to Red's 8 bit. Arri's approach affects color and tonal accuracy, so once an edit is reduced to 2K/8 bit for delivery there are usually fewer errors in reproducing the file so more accurate color and intact tonal combinations. Also, the Arri system has a grain emulation that I find very close to film. Red has a lot going for it in that the resolution gives you flexibility to deliver in higher rez future formats, very accurate color with good exposures, and a 'lossless' compression scheme that makes storage more efficient than other workflows. The other aspects of film look are depth-of-field when shooting, camera movement using prime lenses as opposed to using zooms (zooming changes perspective), and of course color rendition which can be affected using 'film-look' software in camera, and/or handled in color correction with post software. Do your due diligence and decide on your approach before you start shooting.

@Ralph. Many thanks for the in depth update, and Magic Lantern link. It's great to get these gems of technology wisdom, I'm a total non techie and this subject is a misted maze to me. I have crew for my shorts, but I want to start experimenting with film myself.

Thank You guys! I know it's crazy how technology works, I know some feature film was shot with an iphone, which is amazing, again, the grading, the lighting and type of camera you have is how your movie is going to look.

So What would be the best lens to use for a horror action film?

See Anthony's comment. There is no such thing as the best lens to use for a film, any film. You have to choose according to the scene, what you are trying to convey in the shot, the lighting and depth of field you want/need, etc. I shot most of a feature with a Cooke 25-250 (it's a 1.5 ft. monster) zoom. At 3.5 it was pretty fast but not for all scenes in part because of it's size, so I used faster (1.4, 1.8, 2.8) primes for low light scenes and wider lenses (16mm, 20mm) for other scenes. Other lens factors are the 'look' of the lens – some lenses flare or bloom under strong or direct light; this can work fine for a dreamy or romantic feel but look like an amateur mistake when used on the wrong scene. Other lenses are very sharp (Zeiss?) but not right for everything. Angenieux tends to be softer and more fimic in coloration, and I love their look. The Cookes tend to combine softness with sharpness depending on conditions. These all tend to be PL lenses, but on a regular basis, I use my set of still Nikons which are all fast, sharp, and I know them like extensions of my hands. I used them with the Cooke on the feature mentioned above. They cut great with the look of the Cooke. The great advantage of a 10:1 zoom is not having to spend time changing lenses. Shooting a horror film requires a lot of closeups and a zoom may not focus close enough for many shots, so the convenience is out-weighed depending on the shot. As well, mobility is a huge consideration if you have action shots and anything moving the camera (dolly, jib, gimbal). The size of the camera/lens package wil demand more substantial support, take longer to set-up shots and drive up your production cost.

Depends for what kind of distribution. If you planing theatrical projection - NO WAY is it any good. For you tube - it is fine.

Well I know few movies that were made with hand hand cameras and made it huge, That Witch project film was a low low low budget and made millionaires. I know few films made with Iphones and made it big. So the Camera has nothing to do with going on the big screen, not worry about that. It's all about the lighting lens, the camera is the bonus. Look at the Gopro camera been used in films. So I know what can't be used, I know how many films made it big, because it took years to planned, I bring this horror film for over 2 years now, So I have the picture in my head. Just don't have the money for a 4k camera at the moment, plus this film is to help raise money.

Jermaine, you're getting too hyped on one thing. Let's take the iPhone/GoPro production scenario first. Just because a few films were made with a certain type of camera and managed to be successful does not mean that should be your focus camera-wise. Those films out of how many thousands in a given 1-year period made it? 1 or 2 out of 10,000? Duplicating luck or a 1-time opportunity (like the opportunistic techniques of Blair Witch) is not a chance a savvy investor is going to take, and if you know of any who will take those chances I have a file of 2 dozen films I'd like to run by them. Be smart and stick to proven filmmaking techniques, especially in a first-time or early career film. Take the time to learn the basics – 2 years is a pittance to put into a film (22 years for When We Were Kings) – because you will need them to make a career. Along the way you will encounter opportunities to be innovative and cutting edge and you will have the skills in place to take advantage. That is a much better bet to take, not to mention a better opportunity for an investor. Let's look at hand-held. Most hand-geld footage is useless. A standard 'good' shooting ratio working with a premium camera package is 4:1; hand-held that drops to between 6:1 and 10:1 because of motion blur when you don't need blur, difficulty pulling focus while on the move, etc. to go with 8-hour shoot days turning into 14-hour shoots. It will drive up your production costs, not keep them down. Ask any DP worth having what it's like to shoot an entire feature hand-held; your camera people get worn out and you eventually get trash footage no matter how well you start out. Oh, you can just shoot fast, get good stuff and stay on schedule, but that is not likely unless you have a very experienced crew that has worked together before – that's an expensive crew. Please don't think I'm talking down here, only writing fast as I have to get ready for a Saturday night shoot. Just trying to influence you to make decisions that will make your production the best it can be for the budget you have while acquiring experience you can use on the next film. If you are making films to get rich quick or have overnight success, a Wall Street career is a better bet. But then what you do with the money you make on Wall Street will depend on the risk posed by the ventures thrust your way. Would you put your millions into a hand-held iPhone with a GoPro back-up film by a first time Director who discounts the use of a good tripod and a camera that will take a full range of cinema lenses?

The Canon Rebel line are solid cameras. Since they're 1080, it's perfect for DVD and any web distribution. Since 1080 is just a tad below 2K the footage can be bumped up which will permit theatrical distribution, projection. The important bit is to ensure you have good glass (lenses) for a crisp image. You will have a rolling shudder effect (i.e. jello'ing) if a lot of quick pans are done -- this can be corrected in Adobe (there's other programs and plug ins available). Shoot "flat" and have good lighting. Do not record the sound directly into the camera: use the camera as a back up, and record sound to a stand alone device.

Blackmagic pocket cinema camera...very filmic looking (high dynamic exposure range)...$995.00 HD 1080. You can pick many different lenses to use. Unless you have a brilliant DP with great half held skills...Forget handheld...extremely passe' now...AND BORING! Good luck! Dwight Lay

Thank You everyone, I'm asking around if anyone with a BlackMagic or 4k camera wants to help with my film.