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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 :)

What will *you* rent it for?

What will *you* rent it for?

  • Total voters
    303
as we can see from the poll - reds will be available in all price ranges ...
each will offer a different package and different services in the price..
a producer will have many choices ... looks all good to me ...

i'm thinkin i'll play it in 2 area's - my contacts are hi end commercials and friends doing no budgets ... so i'll go for the higher $$ on commercials and the almost free to friends ....no middle ground here
 
donatello said:
as we can see from the poll - reds will be available in all price ranges ...
each will offer a different package and different services in the price..
a producer will have many choices ... looks all good to me ...

i'm thinkin i'll play it in 2 area's - my contacts are hi end commercials and friends doing no budgets ... so i'll go for the higher $$ on commercials and the almost free to friends ....no middle ground here
Click to expand...

are you going to do workflow for high end commercials? if so, what are ya thinking?
 
on just about all spots i've worked on a editing house is already in play when the spot is shot ( say Mad River Post) ..most commercial editing houses have at least one FCP room ... guessing they'll need access to REDcine ? ... but basically i'm not planning to provide workflow ...
once CF cards hit 8/16gigs then IMO that is their MASTER and they buy the card and store them ...
 
donatello said:
i'm thinkin i'll play it in 2 area's - my contacts are hi end commercials and friends doing no budgets ... so i'll go for the higher $$ on commercials and the almost free to friends ....no middle ground here
Click to expand...

Viva Donatello.

Friends are friends, different category entirely, besides they may have compromising photographs.

If they don't have the means to pay your established rate card. If someone is upcoming rock-star filmmaker, what they can't pay up front, defer the balance, or get percentage.

You may not ever see a return on it, but the word will be understood. The starting point is the premium rate card. Then the only question for them, is do I pay the price in the front end, or on the back end.

The greedy will pay the front end, and the needy will pay on the back end.
It's a win win that you control. You can be a back hearted bastard like me on Tuesday, and on Friday you can be a patron of the arts, plus no one has to embarrassing photo's........
 
money for red

money for red

Hi Red buyers,
Packaging a Red system for feature/television drama
work will be needed in the early stages of the camera
release and introduction to the market. This may or may not
include optics but has to include a computer for processing of
editorial material and the cloning of original data.
A post path thru to a final finish on HD/Digital or film-out has
to be planned and tested. Without this there is a good chance
of Red falling over before it gets up and running.
You don't have to own all the equipment to do this but you
do need a post plan. Just owning a Red won't cut it.
Connect yourselves to an established post company or editing
facility so you can take the stress out of Dfilm post for producers.
This is a new system and will take time before it's accepted in
the established feature drama/tv industry.
You guys are going to be introducing this camera to the market
for the first time and it will take a fair amount of work to get the
system accepted and used on a regular basis.
Work out what your going to charge for the camera after your've
taken all Red acquisition and Dfilm post issues into consideration.
There is an opportunity to add value to your original investment in Red
by helping provide a complete Dfilm solution with Red.
Remember,you'll be hiring the camera to people like me and I'm a tough
bastard when it comes to the detail. So get it together.

O.K. so I'm not always
that tough. Cheers Mezmo
 
Sherman Antitrust Act prohibits this type of discussion.
 
I don't think it does, since no price fixing is being discussed
 
We're just talkin', jeez

We're just talkin', jeez

Disclaimer: I am not a lawyer and I could be wrong but...

I agree with Shawn. People in many industries discuss rates of all kinds of products and services. Banding together and setting specific rates with a call to follow such strictures, especially if there are some type of ramifications for those who do not, is another thing.

BTW I cannot imagine that in a marketplace that includes thousands of professional cameras available for purchase or rent the Justice Dept. would pursue anti-trust enforcement. The RedOne has many unique qualities (that many of us find compelling) but its specific utility versus other cameras from HDV to 65mm and everything in between is simply not significant in a legal sense.
 
Hi adobeone,
Thanks for that. nice teaser and camera move.
I'm interested. Good luck with the rest of it.
Go Russ go.
Cheers Mezmo
 
adobeone said:
I've asked to get Eddie's Night Out teaser, so here its for now until my site is completely done. It's the myspace thing, not my first choice, but it will do for now.


http://www.myspace.com/bottledlightningfilms
Click to expand...

Looks interesting, adobeone. I like that S&M / bondage theme you got going on there. Not that I'm really into that kinda thing, but it would be fun to watch, or so I hear.... :blush:
 
Just for the sake of clarity, the movie's antagonists are into the S&M thing, the film was shot in San Diego, not the San Fernando Valley. If you know what I mean. Thanks for the kind words, Curren, Mezmo.

Blair, should of went to law school, because he's freak'in Parry Mason. This isn't a camera cabal, people.... Just a discussion with views from every market segment, freely expressed by professionals, not evidence of a RICO case. Some people are watching to much Law and Order.
 
Curran Giddens said:
The reason I voted for <$500 is because I'm only just starting my business and I have absolutely zero clients. As soon as my schedule starts filling up I reserve the right to raise the price for any new bookings. I would prefer not to have to rent my RED out, but since I don't have any of my own immediate projects planned, I may as well rent it out. Besides, most of my own stuff will be shot in a greenscreen studio, and that can be done whenever the camera is not rented out. I just don't want to spend all my money on such an incredible system and then have it just sit there....
Click to expand...

Hi Curran,

I’ve obviously joined this post way too late but I just wanted to say that in conversing with a number of rental companies about potential rental rates for the red, the one comment that kept being repeated to me was,

"you can always lower your prices but if the price starts too low it will almost be impossible to raise it”.

This is from a rentals point of view. Food for thought, no?

Respectfully

Cheers

Method
 
Thanks for that, Method. I've already been set straight concerning rental prices. I guess that price is reserved for some of my friends/family who are the only ones interested in using my RED so far....
 
Red Prices, Value etc

Red Prices, Value etc

Hello, All.

(Following is a copy of a post that I put up on the LA Red Users Group. I'm re-posting here hoping my thoughts will be welcome. ~Thanks.)

I have followed the discussion about prices and value with regard to your rental and use rates for your new REDs. So far, I have stayed out of that conversation. Price-fixing in any way is, as has been mentioned repeatedly, not allowed. I have these "two cents" to offer on the subject, for what it's worth.

I started my own Hollywood career 41 years ago. I started as a DP. I loved film. I still do. At the time I came to Hollywood, film was the only moving picture medium available and there were only three Film Schools on the planet. During my early career, I had my own 16mm equipment, and I got a lot of work because of that. Sometime I made a lot of money, and sometimes I didn't. I don't think it had anything to do with my camera. Although my heart is still very fond of using a film camera, I became a producer circa 1980 and have been one almost exclusively since then. I have produced film and video projects, witnessing and appreciating the differences, values and tech advances in both media over the years. Now there is digital, and I am very excited to use it.

There are "good" producers and there are "bad" producers. We all certainly know well that many of us want only to spend as little money as possible to make a show. I personally, pride myself in being a "good" producer. I define that as believing that everyone should receive a fair day's pay for an outstanding day's work. When I produce a picture, either union or non-union, I pay union minimum wages to everyone in the unit. I accept the union agreements to be the "fair" determination of a solid day's pay. I pay for people, not equipment. I shall always pay only whatever I must to get the equipment that I need.

I am very enthusiastic about producing my next project using the RED. I will want to get it for the lowest price. If you are a RED owner, and your RED only comes with you attached to it as DP. then you had better impress me as being the DP that I want. Only then, will I consider paying whatever your equipment rental demands may be. Otherwise, I'll find the lowest price for the RED. That's economics. That's called competition. It's the truth.

I like to work with friends. But, I do not hire friends who are not also oustanding in their craft. I am not at all concerned about how many RED cameras "flood" the market, and I recommend that you boys and girls not be concerned with that either, but only with how many outstanding, excellent, artistic, friendly, knowledgeable, outgoing, easy-to-work-with, terrific, creative, concerned-about-detail, perfectionst and remarkable DPs, editors, and other craftspersons "flood" the market. That's the market that I shall be shopping in.

In conclusion, I want to say to all of my new Red owner friends that, I wish you all make good earnings with your REDs, but I hope that you all bought them because they are a fantastic new camera that will change EVERYTHING, and because you WANT them.

kindest regards,
Rodney
 
As far as I'm concerned I would rather rent from a reputable rental house that have a staff of technicians that maintain and check the cameras EVERY TIME before they send out cameras, have backups ready, will open up for me on the weekends, have a variety of lenses, matteboxes, fluid heads, follow focuses, etc., etc. so I can configure my camera package for the needs of the job. I know the rental houses will have their Red's shortly and as someone else mentioned they have all the accessories available and rental of the camera body itself is not the main profit maker in their business. Now any owner operator that has business lined up and has a Red on order is in a great position. But I think the people that are inexperienced and want to enter the rental market and are out for some short term "scarceness factor" exploitation are about to have a rude awakening.
 
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