You have $5,000 to start a COMMERCIAL/VIDEOGRAPHY BUSINESS, what do you buy?

C

commercialguy

Member
So it looks like I'll have $5,000 and I'm trying to break down how I should spend it. I own a 1250w photo flood light kit.

Any suggestions on how to allocate the funds? What camera/sound equipment/gear would you purchase if you had $5k to spend right now and only had a cheap light kit? :cheesy:
 
Are you concentrating on events, interview, commercials, or other?

What gear do you have experience with?
 
I have experience with the t2i/5D and used to own a DVX100 and HVX200. I've since sold my gear off and now have funds coming in to get back into it. Mostly done narrative work but am ramping things up for commercial work. I'm leaning towards doing commercials, interviews, profile videos, music videos, maybe weddings. Events may require more gear than I can afford right now, but eventually I'd like to do events. Thanks for any help/tips.
 
I was leaning towards a BlackMagic Design setup..

$3,000 Blackmagic Design Cinema Camera with EF Mount
$300 Switronix PB70-BMCC PowerBase-70 Battery Pack for Blackmagic Cinema Cameras
$185 SanDisk Extreme Solid State Drive (240GB)
$110 canon EF 50mm f/1.8
$100 camera bag
-----------------
$3,695 (leaves $1,305 roughly)

Would then need tripod and audio gear (maybe zoom h4n + rode ntg-3 and boom pole/shock mount/xlr cable)
 
I was thinking about going ahead an getting the BMC with EF mount because I could later on get this nice Zeiss lens set for canon EF mounts..

Zeiss ZE SLR Lens Case Set For Canon EF Mount ($5,936.50)
http://www.bhphotovideo.com/c/product/818396-REG/Zeiss_410951_0000_032_ZE_SLR_Lens_Case.html


And I hear some are using it on their Red Camera's with canon mounts and it looks fantastic. Not as nice as the MFT mount compact primes or anything like that. But I'm not really in that league yet anyways and likely won't be for a long time. So could start off small and work up towards it. Could always use that kit on a nice canon camera for photography work too down the line. So was hoping I'd book a few commercial gigs and could get that lens set to add on to my BMC.

Thought of waiting for the new BMC camera that shoots 4k, but they are still trying to fill orders on the last one at some places. So I figure that won't start shipping until the end of the year for some people. Meanwhile I can at least start shooting things and get experience with the camera.

I considered getting a GH3 and shoot on that for a while and then wait on the BMC 4k model. Use the difference elsewhere for a while. But I think the BMC could give me an edge on landing commercial gigs that I might not otherwise get.

The camera I would really like to own is a Sony FS700 because of the 240fps option for slow motion, but I can't afford that.
 
maybe you need a backup drive. Last thing you need is to go out in the field with all your gear but have a drive fail.
 
The problem with your choice of the Black Magic is it can get expensive quickly for storage. I am not sure what the time till full on the 240gig SSD you list in Prores or the other format, but its full in like 30 minutes with raw. I was thinking of the same camera myself, but the costs to operate it are pretty serious, not to mention the need for mounting options, battery options, and lens. You mention a bit about the audio and that can quickly get to 1k too. There are much less expensive cameras to own and operate which for most things will deliver adequate results. I assume you know most of that, the way I look it is what do your clients want? If you can get away with much lower operating costs, why not?
 
With the new Magic Lantern hack, 5D might be a better investment than the BMCC. Definitely do some research into that, don't just jump on BMCC because it's the "new thing".
 
^ agreed.

If you only have 5k to get the business going, stick with a DSLR and concentrate on other gear that will up the quality of your productions. What about lighting? What about sound? Are you all set on the post end? GREAT sticks? etc.

You don't need 2.5K RAW right away here...esp if you're just starting out and that's what you have to spend. A BMC doesn't seem like a smart choice right now.
 
Gary Huff said:
That is terrible advice, really.
Click to expand...

I don't want to be harsh either, but I would say to the OP do not get a 5D because of RAW. Get it because of everything else you want it to do. Bother with RAW at home when money, time, and people don't depend on you. For RAW, at least go Blackmagic if you just have to have that camera because it's not a hack. But remember, storage space will eat you alive faster than you think now.

Have you considered a Panasonic GH3?
You will have money leftover for lenses and it stands well against a 5D and many others.
 
Get a very very good tripod and head
Get a decent set of lights and stands. Add to this as you learn what you like to use.
Get a number of 5-in-1 reflectors, white and black foam core, clamps, stands, gaffer tape, clothes pins, diffusion and CTB gels, and a Matthews Minigrip kit.
Get good bags or cases to carry and store everything.

Get a dependable wireless lav set, a decent short shotgun, shock mount, boom pole, and XLR cables.

Get liability insurance. Get dependable transportation. Get a computer beefy enough to handle HD footage and enough storage and software to use it properly.

Once you have all that, THEN worry about what camera you can get with whatever is left over. Buy a used DSLR/DR100 combo or HPX to practice and do small jobs. Rent what suits the bigger jobs until it makes sense to upgrade.

If you start out dumping everything into a raw camera with only one telephoto lens and nothing to properly support it, you'll quickly become broke and miserable.
 
What are you doing about sound? A passable prosumer sound kit will set you back about $1,250, and you'll still need someone competent to use it.

People will have variations of this list, but at this price range the differences are pretty small.


Audio Technica AT875 Shotgun Mic - $225 (mic, shock-mount) or Rode NTG-1 - $275 (mic, shock-mount)
Avantone CK-1 Hypercardioid - $150
Gitzo GB3360 12' Boom-Pole - $250
Softie - $110 (+/-)

Tascam DR-100 w/ Porta case - $325 or DR-40 - $199 (case $50 to $75)
Battery Pack for DR-100 - $25 x 2 = $50

Pro Co 25' MasterMike XLR to XLR - $25 x 2 = $50

Sony MDR-7506 Headphones - $100


You should really add a mixer. The Sound Devices MM-1 is $500 for a single channel, but is the boom-ops best friend. The PSC ProMix 3 is under $500 for three (3) channels, but not as good as a Sound Devices unit.



What you should really do is find an audio partner to handle production sound.
 
KyleProhaska said:
^ agreed.

If you only have 5k to get the business going, stick with a DSLR and concentrate on other gear that will up the quality of your productions. What about lighting? What about sound? Are you all set on the post end? GREAT sticks? etc.

You don't need 2.5K RAW right away here...esp if you're just starting out and that's what you have to spend. A BMC doesn't seem like a smart choice right now.
Click to expand...

What would you recommend?
 
mcbob said:
Get a very very good tripod and head
Get a decent set of lights and stands. Add to this as you learn what you like to use.
Get a number of 5-in-1 reflectors, white and black foam core, clamps, stands, gaffer tape, clothes pins, diffusion and CTB gels, and a Matthews Minigrip kit.
Get good bags or cases to carry and store everything.

Get a dependable wireless lav set, a decent short shotgun, shock mount, boom pole, and XLR cables.

Get liability insurance. Get dependable transportation. Get a computer beefy enough to handle HD footage and enough storage and software to use it properly.

Once you have all that, THEN worry about what camera you can get with whatever is left over. Buy a used DSLR/DR100 combo or HPX to practice and do small jobs. Rent what suits the bigger jobs until it makes sense to upgrade.

If you start out dumping everything into a raw camera with only one telephoto lens and nothing to properly support it, you'll quickly become broke and miserable.
Click to expand...

What tripod and light set would you recommend?
 
unclebob6958 said:
What are you doing about sound? A passable prosumer sound kit will set you back about $1,250, and you'll still need someone competent to use it.

People will have variations of this list, but at this price range the differences are pretty small.


Audio Technica AT875 Shotgun Mic - $225 (mic, shock-mount) or Rode NTG-1 - $275 (mic, shock-mount)
Avantone CK-1 Hypercardioid - $150
Gitzo GB3360 12' Boom-Pole - $250
Softie - $110 (+/-)

Tascam DR-100 w/ Porta case - $325 or DR-40 - $199 (case $50 to $75)
Battery Pack for DR-100 - $25 x 2 = $50

Pro Co 25' MasterMike XLR to XLR - $25 x 2 = $50

Sony MDR-7506 Headphones - $100


You should really add a mixer. The Sound Devices MM-1 is $500 for a single channel, but is the boom-ops best friend. The PSC ProMix 3 is under $500 for three (3) channels, but not as good as a Sound Devices unit.



What you should really do is find an audio partner to handle production sound.
Click to expand...

Great info, thanks for taking the time to post it. I know a lot of audio guys I can bring in on commercial deals. But there are times when I may do something ultra low rate just to do it and would like to have my own audio gear. I'm leaning towards maybe a zoom h4n or a tascam and a rode ntg-3 and xlr cable. Eventually get a wireless sennheiser lav. I completely forgot about high quality headphones, I used to have a pair, so I'll definitely need a new set.

I know this is a dumb question, but how important is a mixer really when you're starting out? I figure I can maybe hold off on adding one, and get a really good one eventually.
 
mcbob said:
Get a very very good tripod and head
Get a decent set of lights and stands. Add to this as you learn what you like to use.
Get a number of 5-in-1 reflectors, white and black foam core, clamps, stands, gaffer tape, clothes pins, diffusion and CTB gels, and a Matthews Minigrip kit.
Get good bags or cases to carry and store everything.

Get a dependable wireless lav set, a decent short shotgun, shock mount, boom pole, and XLR cables.

Get liability insurance. Get dependable transportation. Get a computer beefy enough to handle HD footage and enough storage and software to use it properly.

Once you have all that, THEN worry about what camera you can get with whatever is left over. Buy a used DSLR/DR100 combo or HPX to practice and do small jobs. Rent what suits the bigger jobs until it makes sense to upgrade.

If you start out dumping everything into a raw camera with only one telephoto lens and nothing to properly support it, you'll quickly become broke and miserable.
Click to expand...

A lot of sense in that post - good advice
 
As to recommendations on tripods & lights: I really don't know.

I can list what I have, and what I've been working with for ~6 years, but that's no guarantee of current best value or future results, or that any of the gear I list will be suitable for you and the way you prefer to work. I generally don't own all the top-shelf stuff because my budgets don't allow it and (usually) I'm a cheap bastard from a long line of Scots, Jews, and PA Dutch. I shy away from large gear because I mostly work as a one-man-band and often have to travel.

Currently have two second-hand tripods, a Manfrotto 351mvb2 w/ 503 head, and a 755xb w/ 701 head. They're decent, but not great. The 351/503 is cumbersome and the head isn't as smooth as I'd like, and the 755/701 is lightweight and very easy to use but not suitable for use with anything but DSLR's or very lightweight cameras. They've been "OK" for professional use. In the retrospectoscope, something sturdier and smoother from the likes of Sachtler or Miller may have been better.

My lighting is mostly Lowel gear, based around a "DV Creator 55" kit (IIRC) - includes a RIFA 55 quick-deplying softbox, a couple of open-faced 500W V-lights, a couple of 250W Pro-lights, and some other semi-pro small halogen worklight, small fluoro, and LED fixtures tossed in. I bought the Lowels mostly for 'punch and portability' - Lowel gear is not necessarily as sturdy and its light a little harder to shape properly, and of course having more than 1000W of tungsten burning away in a small space can get warm in a hurry, but it's very light and compact, and output per dollar for a nice, steady, broad, even-spectrum light source is very good. Fluoro and LED pro solutions also weren't affordable when I was starting out, and frequent traveling precluded a sturdy dependable set of fresnel lights from ARRI, Mole or the like. There may or may not be better, affordable, cool-running options today.

Sound is based on needs for basic OMB work: First, a set of cans (Sony 7506) to hear anything. Then, at least one shotgun and one lav suited to the job: I've accumulated two Sennheiser G2 wireless lav sets, one ECM44b wired lav (in case there's a lot of local radio interference), an AT897 short shotgun, and a Sennheiser K6/ME66 short shotgun with an optional ME65 handheld stick mic capsule. The ME65 and AT897 work well for booming purposes on controlled interviews and indoors, the ME66 is better for on-camera wild sound gathering. I'd probably say the AT897 is the best all-rounder I own, but it doesn't excel... it does OK. I have one external recorder that I'm selling because I don't use it. On one-man-band shoots, I record in-camera (AF100 or HVX200. Tried once on a Canon DSLR, which was as terrible as everyone says - get an inexpensive recorder if you go that route). If I need top-quality dual system sound, I hire on a sound recordist with more experience and better gear than I care to pay for.

This stuff all gets carried around either in the nice hard case that came with the lights, or a couple of rolling Pelican cases with padded dividers, or a carry-on approved Tamrac photo gear backpack. I bought some inexpensive cases for things like my old HV and HVX, which don't see much prime-time action these days but are worth more than I'd get from selling. Those cases are more to keep everything together on a shelf and dust-free.

Most of this stuff I've owned since I started. Cameras I've plopped on the sticks and fed with the lights and mics have pretty much run the gamut of consumer and prosumer small and large-chip cameras used extensively from ~2007-now - and I've only ever owned 6 cameras (PD150, HV30, Z1U, HVX, GH2, AF100). If I sold all my support gear today, I could probably recover the bulk of my investment (especially since I bought most of it used). Selling cameras, not so much.

So what camera to get, then? Well, truth be told, I could still do much of my work (commercials, business profiles, documentary, etc) with the HVX; the local news stations and the biggest local production house still even use HVX's. Those and used HPX and HMC's are sturdy, flexible cameras available for ridiculously low prices. Your event-to-cinematic ratio may mean a large sensor camera makes more sense. At $5K, even the vastly depreciated AF100's and FS100's coming on the market will, with the addition of lenses, batteries, and support gear, be out of your price range. While I went GH2 for my 'DSLR,' I'd actually recommend getting a mid-generation Canon DSLR (60D or T3i, based on flipping LCD) and a DR60/H4N or whatever for sound, even though they're arguably "worse" than newer offerings from Panasonic, Sony, Nikon - there are still a number of low-budget producers specifying Canons for gigs that are perfect for someone just starting out. Plus, you have T2i experience.
 
Last edited:
I'm sorta in your position in that I'm selling gear sometime this summer to upgrade to some new stuff.

I mostly do weddings/events, but want to get back into doing more corp/commercial work which I've done in the past. I'd also like to make some short films, perhaps a feature in the coming two years, as well as practice still photography some more. So as you'd guess, I'm going more with DSLR stuff.

I already have some audio gear and lighting, so my main switchover of gear is going to be camera and lens related. What I'm going for is to get a Panasonic G6 (to compliment my GH2). I might also sell my T2i to switch to a Nikon D7100. Right now I also have a Canon XH-A1 and a Panasonic AC-130. I'm tired of tape and I'm not a huge fan of the AC-130, which actually quit on me in the middle of an event a couple weeks ago for no apparent reason.

What I plan to do is maybe sell both my 1/3 chip cams, and go with the upcoming Canon XA-20 as a replacement for a traditional video camera. Then I'd have my DSLRs as well for the arsty fartsy filmmaker stuff. I find this makes me more flexible in that in an ENG/run+gun situation, I can use a standard HD video camera, the XA-20, and can use my DSLRs as B and C cams for events. Then in the flipside of that scenario, say a movie or music video or commercial, the XA-20 could be a B cam while I shoot A cam material with a DSLR. The XA-20 is also attractive to me in that it has 1080 60p for slo-mo stuff, as does the upcoming G6 (which has peaking).

So if I were in your position, wanting to do both some event video production and also have a camera that gives more control (DoF, lens choices) for things such as commercials and music videos, I'd go with a good but portable run+gun style camera with built in zoom and audio and a fixed lens with decent reach. Then grab a DSLR with good video and you have that for more cinematic stuff as well as still photography (example: good quality still photos are great for DVD/Blu-ray menus, as well as disc case and disc cover art, websites, time-lapse sequences, etc... could come in handy even if your focus isn't photography).

As for the 5Draw, I think that is awesome and am going to keep an eye on it. Right now though, it just isn't a great choice for me. I believe a GH3/G6 or something like that is not only much more affordable, but also more practical for me right now. As I said, I also have my eye on the Nikon D7100, admittedly I'm mainly interested in it for photography, but the video capabilities also look great and better than Canon overall for the price and ease of use (as compared to Canon H.264 .mov shooting, not better than RAW obviously). I can also grab a Ninja recorder for the D7100 later on as well. No it won't be as good as RAW on the 5DmkIII, but I believe it will still look darn good with 422 ProRes. Good enough for my needs for the coming year, and a whole lot easier to store the footage and deal with it in post. Hopefully RAW comes to more Canon and also Nikon and Panasonic DSLRs in the future though, especially as hard drive costs lower and CF/SDHC card speeds increase.

So if I were you, I'd get:

- Panasonic G6 ($749 w/14-42mm zoom) -or- Nikon D5200 ($799) -or- Canon 60D ($600-700)
- Canon XA10, XA20, or Panasonic AG-AC90 (all approx. $2,000, XA10 is less)
- Lenses for DSLR: 50mm prime, a wide 28 or 24mm, and a zoom w/image stabilization (guessing approx. $1000 for those combined)
- Audio gear -- shotgun mic, Tascam or Zoom recorder ($200-300), boom pole (as long as it works, doesn't need to be super expensive), a mic stand for interviews (again, doesn't need to be expensive, I use one that is like $30, but I suppose you could splurge a bit more on a nicer one)

As for lighting, I'd get an on-camera light or two, LED that isn't too expensive (let's say you spend $250 on on-camera lights and batteries). Also a small portable light kit. A Lowell or something that is admittedly not the top of the line, but for the money does the job and gets you started.

So to break it down it comes out to approx this much per area (camera, lenses, audio, lighting):

CAMERAS = $2,400-2,800
LENSES = $1,000
AUDIO = $700-900
LIGHTING = $800-1,000
TRIPOD = $300-700

This isn't an exact guide down to the dollar, and does go a bit beyond your $5,000 budget, but it gets you started and is "in the ballpark" towards your gear goals. You may not need all of it at once. I don't know your shooting style or if you say, for example, plan on doing your events and weddings more cinematic style. That would knock out the need for the standard fixed lens HD video camera and means you could put more towards lenses, audio, and lighting. You just have to tweak the options a bit to see what is the most sensible for your needs.

It is basically what I'd do, so just my 2 cents. Good luck with your film/video making endeavors to come :beer:

Hopefully they will be more like this :2vrolijk_08::kali::love4::violin::engel017::thumbsup::costumed-smiley-047

...than like this :angry::furious3::badputer::Drogar-Smoke(DBG):
 
Last edited:
You must log in or register to reply here.
Back
Top