Why are dslr rigs so unjustifiably expensive?

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vision_filmz said:
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
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You're shooting video with a DSLR, so resolution isn't incredibly significant to you. What's more significant is micro-contrast, colors, bokeh style, flair, ect because that will show up your shot. 18mp worth of resolution from glass won't.

The 24-70 was notorious for having poor quality control back in the day... so it's possible you got a lemon. It's honestly a solid lens.

I also prefer primes to zoom lenses, but sometimes carrying around multiple lenses is simply not doable. You should look into the Zeiss 50mm f1.4 and the Rokinon 35mm f1.4... amazing primes at a relatively cheap price.


TimurCivan said:
In NYC rates vary wildly for a dp. Depends on your circle like mcG says.
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Understandable. I'm just completely oblivious to professional rates in the film world so I don't even have the slightest clue what is normally a high end or low end rate.
 
HansSteinert said:
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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Yeah that very low, you should just charge per whatever you do. Even someone on the come up at their worst should make $100-150 a day, anything less than that and you are honestly being robbed from. Go shoot some projects and get your name out there, being under a company people will never know you.
 
Forgot to mention, I'm also getting college credit for it (3 hours per semester)... so it's not a horrible deal.

In September I'm going to be dropping about 1.2 grand on lighting equipment and 1.5 grand on a real nice fluid tripod and head and then I'll do that. I would just feel silly trying to take on professional local projects without any good lighting equipment and with a tripod head that takes multiple takes to get right (I've got the 501HDV Manfrotto right now and every time I pan I have to stabilize it in post for it to look acceptable). Those are fundamental essentials for this type of work, are they not?
 
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HansSteinert said:
In September I'm going to be dropping about 1.2 grand on lighting equipment and 1.5 grand on a real nice fluid tripod and head and then I'll do that. I would just feel silly trying to take on professional local projects without any good lighting equipment and with a tripod head that takes multiple takes to get right (I've got the 501HDV Manfrotto right now and every time I pan I have to stabilize it in post for it to look acceptable). Those are fundamental essentials for this type of work, are they not?
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I don't mean to be a rain on your parade, and you have the right idea, but I'd be careful jumping into lighting equipment if cost is a strong issue. A light kit may cost you $1,200, but what do you have to control it, shape it, or artfully manipulate it to the extents of your style? You typically want one complete grip package and 2 C-stands per light fixture you hang. That means C-stands, cutter flags, nets, floppies, diffuser screens, cookies, etc. And what about gels, diffusion, blackwrap, softboxes, etc.? What about dimmers, flicker boxes, etc.?

That is the stuff you rent or borrow, which is often more affordable than owning because of the wide range of lights each project may call for. An Arri 1200W HMI is over $3,000 to buy but $150 (depending on your location) to rent. Establishing a rapport with local rental houses can also lead to huge discounts and insider deals, including student discounts. (I know a lot of the folks at a local house in the DFW Metro, and I was able to get 40% off a whole lighting and camera package for a recent short I shot.)

It may be best to invest in your camera gear before lights. My reason is your camera you will likely use from shoot to shoot to shoot - it will probably be a consistent staple in all of your projects - but the required lighting may and will change. Also, you should and will get to know your camera, lenses, and pieces of camera kit very, very well, knowing their strengths and weaknesses and how to use them to your advantage. There are far more complexities in the simplest professional camera than in the biggest, baddest most professional light. If you operate, your camera gear is an extension of your body, so - not to get too earthy, here - you come to know it very well and can really feel the value you traded dollars for as you buy new pieces.

Just saying. I don't mean to take the thread off-topic. I've been in the same situation as you and am just giving my two cents. A good tripod is a must, so you will not be disappointed spending money there.
 
Thanks for the advice, appreciate it. I'll network around locally to see what kind of options there are for rental.

Do you recommend not even buying the bare essentially when it comes to light? Obviously everything you recommended are important, but a bare 3-light kit would still have a lot of versatile uses, would it not?

Right now I have nothing except an old photography lighting kit that has 0 use in the film world because it's only strong enough to work if it's like 2-3 feet from the subject.
 
Thanks man, will do once I have the money.

I'm just looking for a bare bones essential kit that performs well for real low budget short films for about a grand. I would imagine that some is much much better than none at all, even if it doesn't compare to being able to rent a 5000 dollar package.

I'll have to bring this to the lighting section when the time comes.
 
He has got a cool website though. So anti mainstream that is not even old school.
I really like that.

Frank
 
HansSteinert said:
Thanks for the advice, appreciate it. I'll network around locally to see what kind of options there are for rental.

Do you recommend not even buying the bare essentially when it comes to light? Obviously everything you recommended are important, but a bare 3-light kit would still have a lot of versatile uses, would it not?

Right now I have nothing except an old photography lighting kit that has 0 use in the film world because it's only strong enough to work if it's like 2-3 feet from the subject.
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Of course, you can be creative and make the most of anything. My caution was to not blow huge portions of your budget on a lighting kit when the other stuff to bring out the articulated craft of lighting doesn't come with it (e.g. grip gear). I should have added that, starting out, it's better to buy individual lights at a good price as they come.

I have a set of four Altman 65Q Fresnels that I converted into film lights, but their use varies from shoot to shoot because I always rent (or request the powers that be to rent) what I know I'll need to get the shot. And I got them for free and only had to put money towards bail blocks, lamps, and some new paint.

TimurCivan said:
Buy a few used moles. Contact my friend neal. Www.shadyneal.com he reconditions and sells moles.

I just got a 2k blonde par, 2x 1k Mole Mickeys, and a 2k Zip light for $500
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Holy crap, Timur!
 
I'm sure those were friend prices, but his stuff is ancient, just re furbished to functioning condition.
 
Out of curiosity: those Gini rigs seem to cost the same or even more than CPM rigs. Why did you choose Gini over CPM?
 
DSLR Shoulder Shooter is $528.99. I personally think the extra $100 or so is worth it for me when you count in the customer service, build quality etc. But it's your choice.
 
Once you start talking with Steve at CPM, you understand what good customer service is. I have CPMFilmTool stuff and love it. It's built SOLID and has really great design quality. Any questions I have I contact them and they get back ASAP.

Btw, It's been about 4 months and I am STILL waiting for Ginirig people to write me back on some questions I asked them! :)
 
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