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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Day rate?

We have been trying to keep the core group of RED owners that do commercial/ Film work here in Miami( not small ENG style) within a basic cost structure. The costs work out to about 1,000-1,200 for a full blown package with 3 drives, follow focus, EVF w/ ET
bracket, 5.6" onboard monitor, downconverter, 17" Panasonic, hand held rig, 4 Redbricks, 2 chargers and one block battery, basic filter kit with mattebox,, support, and then charge for lenses. 18-85 around 200, set of RED Pro Primes including 18mm 500.00$ Other bigger outfits such as CSC will charge for every piece but then give Producers a good discount. This seems to be the strategy that works well with producers because they feel they get there big discount but the prices seem to fall in the same range afterword. 1,500.00 on average for a well outfitted camera and a zoom. There are of course many new faces to the business in South Florida that have bought REDs and are going out at rates that make us cringe
I've heard of rates as low as 500 for camera/ operator. Personally I think they are making a huge mistake. If people have an HVX budget then that is what they should shoot with. Being the lowest price on the block usually means you are either lacking experience or you have a limited package,seems like a short sighted business model.
2% 0f the total value of your package is a good benchmark if your package is complete with all redundancies, cables, drives, and when traveling to distant locations a spare body. Keeping your package spotless, up to date and complete while earning a fair rate will keep you in the game a lot longer than being the cheepest guy in town.
Frank Martin
IATSE 600 DoP
Powerhouse Films
 
Rick Burnett said:
Here in Raleigh, NC I see Red One rental with operator for $900 a day I believe I saw. Don't remember the week rate.

I've been getting $300 to $500 shooting on HVX or other camera.
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It all depends on who it is, who you are. Some DPs here in MTL get $3500 a day, no cam, no nothing, just them.
 
Frank Martin said:
We have been trying to keep the core group of RED owners that do commercial/ Film work here in Miami( not small ENG style) within a basic cost structure. The costs work out to about 1,000-1,200 for a full blown package with 3 drives, follow focus, EVF w/ ET
bracket, 5.6" onboard monitor, downconverter, 17" Panasonic, hand held rig, 4 Redbricks, 2 chargers and one block battery, basic filter kit with mattebox,, support, and then charge for lenses. 18-85 around 200, set of RED Pro Primes including 18mm 500.00$ Other bigger outfits such as CSC will charge for every piece but then give Producers a good discount. This seems to be the strategy that works well with producers because they feel they get there big discount but the prices seem to fall in the same range afterword. 1,500.00 on average for a well outfitted camera and a zoom. There are of course many new faces to the business in South Florida that have bought REDs and are going out at rates that make us cringe
I've heard of rates as low as 500 for camera/ operator. Personally I think they are making a huge mistake. If people have an HVX budget then that is what they should shoot with. Being the lowest price on the block usually means you are either lacking experience or you have a limited package,seems like a short sighted business model.
2% 0f the total value of your package is a good benchmark if your package is complete with all redundancies, cables, drives, and when traveling to distant locations a spare body. Keeping your package spotless, up to date and complete while earning a fair rate will keep you in the game a lot longer than being the cheepest guy in town.
Frank Martin
IATSE 600 DoP
Powerhouse Films
Click to expand...

100% agree
 
Ian Planchon said:
Thanks for the responses.

I am not looking to really rent the camera when I purchase, I am looking for more what I should be charging for hired gigs, as this would be my first dip into the 4k RED world, I am clueless (obviously).

So if I went with the R1, RED primes, and a zoom or two and my typical grip kit. I could potentially be charging around $2,000-2,500 for a 10 hour day, or is that waaaaaay on the high end.

I am torn on waiting for the Epic, or just getting a RED now, and making some money. than again, I would still have to wait to upgrade to the MX sensor, right? maybe its worth it to just wait for the Epic....so many decisions.

thanks again.
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It depends on your reel. Gear is a commodity, talent is not.
 
Just curious: what is being shot on HVX's?

That camera is very old.
 
Tom Lowe said:
Just curious: what is being shot on HVX's?

That camera is very old.
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Loads of projects, I hear all the time how much better it is than an EX1 /3.
 
As an operator, you should be earning a rate for just operating. No gear, just you.

$1000-1200 should just be camera package.
 
Tom Lowe said:
Just curious: what is being shot on HVX's?

That camera is very old.
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I still shoot lots on the HVX (or the Hpx 170). Interviews, mostly and other doc- style footage. It has a proven track record of reliability and the p2 workflow is widely accepted. Sometimes it's just the right tool for the job. Last week was Red b-roll, HVX greenscreen interviews and a 5d shoot. Three different jobs, 3 different cameras.
 
Shane Kelly said:
Sometimes it's just the right tool for the job ... Three different jobs, 3 different cameras.
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And that is the key right there. As a Red owner myself, just because I have the camera does not make it the right choice for everything. Last month I shot on the Red, HPX300, Z1U, and the DVX100a- the appropriate tools for the job and the budget changes from job to job. :)
 
Well some of the biggest gear houses up in Canada are quoting good weekly rates for fully kitted M-X cameras. Oddly, the smaller shops and indie owner-operators are fairly steep. Maybe I'm just looking in the wrong places?

As for DOP rates, they vary and some of the absolute best in the business work on very low budget with a no-quote clause...and that's because they love what they do and like to ply their craft.
 
Tom Lowe said:
Hmmm... better in what ways? That surprises me. What types of projects?
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That's not my opinion, I always hated the HVX, the Pro35 brigade like it. 'General' rather than high end.
 
Stephen Williams said:
But they are 'real' DP's, some would say you get what you pay for.
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With talent, yes, you often do. A few stars are a bit overpaid (nothing drastic), but I'm sure if I ever become one after a truly high-profile project I will change my tune on this :-)
 
Torrie said:
Well some of the biggest gear houses up in Canada are quoting good weekly rates for fully kitted M-X cameras. Oddly, the smaller shops and indie owner-operators are fairly steep. Maybe I'm just looking in the wrong places?

As for DOP rates, they vary and some of the absolute best in the business work on very low budget with a no-quote clause...and that's because they love what they do and like to ply their craft.
Click to expand...

That's great, but just because I have a condo to pay off doesn't mean I like my craft any less. You have to mix "art" projects with projects that pay cash-money-full-green.
 
We shoot the HVX as a B camera and capture all our audio on it. We shoot with about 2 DSLRs as our A cameras. We are doing music videos, documentaries, viral videos, and events (weddings, huge parties). We just booked an event for $900 a day for two of us (so $450 a piece). And it is true, our reel sold us on this. They never asked about equipment.

When the Scarlet ships, I will be shooting the Scarlet as an A camera, and the DSLR as the B until I can save up enough for the S35 brain. Then I will shoot mostly with the S35 with the Scarlet for high speed and fight scene work. Once we start using the RED, we will be increasing our day rate a bit to help build up funds for the S35.
 
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