Why are dslr rigs so unjustifiably expensive?

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Look Matt.
I respect your opinion and I know you're a very established professional.
But you need to see that I'm just a starting filmmaker (never produced anything yet), and for me, I think I don't need (now) a rig that costs the same as my (inexpensive) dslr camera.
I think I should made this clear when I started the thread. I'm sorry.
 
And to answer your question about the followfocus, its better because:

If you were to buy an arri and a redrock ff, the first day you would say "hey this redrock is about 95% of what the arri is! I feel ripped off! 3 years down the line the rr is sticking, has about a 1/8 of an inch of play, the finish is worn off, and the screws that tighten it to the rods are strpped.

The arri that's $3900 (which I have and it stung to buy) will be working like the day you bought it.

Flash forward 10 more years, you are on your fourth $900 redrock, and the parts are still stripping and the play just gets worse.... the arri will be like the day you bought it.

There are arri FF I've used from the 80's that feel as good as the new one I bought.

That's why. Its better and you get what you pay for.
 
But you need to see that I'm just a starting filmmaker (never produced anything yet), and for me, I think I don't need (now) a rig that costs the same as my (inexpensive) dslr camera. I think I should made this clear when I started the thread. I'm sorry.
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then dont buy one! ITS NOT FOR YOU.

none of us bought a $4000 follow focus on our first project. i successfully and happily used a $300 indifocus for 2 years, until my expectations and budgets justified a higher end model. buy what you can afford and work with it until you can afford or need better.

your question is like asking mario andretti why his million dollar race car costs more than your toyota corolla.
 
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mcgeedigital said:
Because you don't WANT answers to your questions from people who have evaluated, tried lesser models, found them lacking, and then have bought the more expensive, but better built models that stand the test of time.

I may use a companies marketing to find out about a new product, but I don't BUY it for my critical productions until I have tried it in the field of knock down and drag out field production.

So you'll have to excuse me when I see someone like you devalue other pro's views on gear when they don't jibe with your snide little unfounded opinions on gear that doesn't fit into your particular budget.
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With all due respect what in your opinion makes Zacuto gear so valuable? To compare in cars I am very happy with a brand new top of the line Lexus, if zacuto gear is the Bentley of Gear then we just have to know why. The Metal is better? It wont bend? Excellent service? High Resale Value? I mean there are many things that can be pointed out to make us simply understand better.

How is it possibly for one rig to cost $700 & the same similar one to cost 3x as much just because of the Zacuto name? Is it because Zacuto is the best in the industry?
 
Zacuto gear is faaaaaaaaaaar from the bently of gear. Panavision, arri, .... that's the bently of gear.
 
Fellipe said:
Look Matt.
I respect your opinion and I know you're a very established professional.
But you need to see that I'm just a starting filmmaker (never produced anything yet), and for me, I think I don't need (now) a rig that costs the same as my (inexpensive) dslr camera.
I think I should made this clear when I started the thread. I'm sorry.
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Indeed. you may not need something that extensive.

In the end we just don't want you to waste your money on gear that will not last.

My late father, who was VERY frugal, use to say, "Pay once, cry once.", ie, buy quality gear the first time and you won't be disappointed.

I hope you find what you are looking for.
 
Thank You, I guess young inspiring film makers have learned their lesson today. Hopefully one day I will be able to afford the nice gear so I can finally understand. Excellent thread and knowledge given

Thank you & much respect to many veterans in this game
 
TimurCivan said:
Rent it! Try it out and see what all the noise is about. :)
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Exactly. It all comes down to what you are willing to live with in the gear you purchase. For example, here is some examples of tripod issues:

1. No ball head. Leveling happens with the legs. Takes more time, but will produce exact same results.
2. no fluid head. Pans are not smooth. There is NOTHING you can do to fix this really, even in post, the effort required and the difference in motion blur makes it crazy painful.
3. cheap legs. The system will flex from the weight of even you just trying to pan or tilt the head.

I've dealt with all these things. Is it worth it? Only you can decide if you want to work within those limitations.

I bought a D|Focus follow focus I used on ONE project. I'd rather focus with my hand than use it. Why?
1. The bolts that hold the gearbox easily come loose if I have too much hand torque on the knob.
2. The construction is not solid and some some flexing too it.
3. It has backlash.

For you first production, I would NEVER buy a $4000 anything for support gear, I'd rent it. Why waste your money on things that are going to break or be useless in the future to you? Maybe it's the right decision now. Maybe it is good enough. I did it. I bet most people here have done it. You are limited by funds and you do what you can as best you can.

And I'll tell you, customer service is a HIGHLY underrated thing. When a gini rig breaks, you are going to have a REAL HARD TIME getting a replacement part. Their email communications are horrible and their sales are done through eBay?! Do you want to have that lingering over you? I don't. If I break something, because nothing is invincible, I want to know I at least have the option to get a replacement easily.

But that said, I think people are trying to make the point that some stuff is overpriced and that is probably true here and there. Everyone knows price does not dictate quality, but neither does it indicate it's overpriced either. The market does that, and again, if you can't see the value in the price, yet so many other professionals can, then it's simple, it's not marketed for you.
 
Rent it! Try it out and see what all the noise is about. :)
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very good but DANGEROUS advice ; )

the quickest way to make you hate your own crappy or marginal tools is to use really, really good ones.
 
Why do you think I ended up w/ an arri? Though the shoot 35 ff is the best of the lowcost ones.
 
Fellipe said:
Look Matt.
I respect your opinion and I know you're a very established professional.
But you need to see that I'm just a starting filmmaker (never produced anything yet), and for me, I think I don't need (now) a rig that costs the same as my (inexpensive) dslr camera.
I think I should made this clear when I started the thread. I'm sorry.
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The rig is more than your DSLR not because the rig is absurdly overpriced, but because your DSLR camera is dirt cheap.

If you're a starting filmmaker, you don't need a rig. Just get a Z-finder and a really nice tripod/head. I can handheld my camera relatively well just by having the Z-finder mounted because pushing my eye into it serves as another point of contact. Is it as good as a full blown rig? No, but at the same time it will still work well enough for a beginner. Also understand sometimes packing lighter is better even if you own a full blown rig. You should also consider getting a lens with IS, as that will help as well for run n gun situations.
 
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I have a question for the pros in this thread with all the top notch gear. How did you finance it? At what point did you decide, based on your income, that you would step up to top notch gear that costs dozens of thousands of dollars in accessories?
 
Built up credit, visited the bank, formed an LLC and had a business plan.

Years of training, studying, practice, learning, teaching, innovating, failing, succeeding etc have built up my reputation, skill and drive that commands the rates I charge. A DP doesn't make money cause he has a f3, Red Epic, or a 7d, its because he knows what to do with it.
 
wgzn said:
very good but DANGEROUS advice ; )

the quickest way to make you hate your own crappy or marginal tools is to use really, really good ones.
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I have rented some expensive L lens before & I must say I was not that impressed. More so specifically the Canon 24mm-70mm 2.8. I would rather have my Sigma 28mm Prime. Canon 50mm and Rokinon 85mm 1.4 any day of the week (for video work), even if I have to switch lenses
 
TimurCivan said:
Built up credit, visited the bank, formed an LLC and had a business plan.

Years of training, studying, practice, learning, teaching, innovating, failing, succeeding etc have built up my reputation, skill and drive that commands the rates I charge. A DP doesn't make money cause he has a f3, Red Epic, or a 7d, its because he knows what to do with it.
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One day I hope to be able to do that. I'm in college right now.

I don't want you to tell me how much you charge because that's a personal question, but could you give me an estimate of what rates are on average by professionals with talent, experiance, and top notch gear similar to yourself?

I make $10 an hour doing local work under a local internship with my Canon 60D :D obviously I have a long ways to go.
 
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