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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 :)

Who is considering renting out their RED?

I have thought about renting it out, but what I'm hoping to do is use in in conjunction with people that I know or know of.

I'm not really thinking of it as a money maker, but rather and amazing tool to share with other passionate people. We've got a bit of a closed-off industry here in Arizona, so maybe having a RED around will open some dialogue among local filmmakers.

If that fails, it'll be mine, all mine. :)
 
hell yah ill rent it.. but ill be coming with it:) the rental fee can include either just the camera and myself as a handler (make sure no one opens up a shaken can of soda near it) or ill obviously rent it along with my DP/Camera operator Services.


but hey.. FOR RED: i think you guys should have your own lens/accessories renting program for those who are in the red army.. set up a rental agreement with us and we can rent from you! I know ill be buying the basics.. rails (maybe... i have rails right now), cage, efv, dig mag... but if we would be able to rent extra batteries.. mags.. either evf or lcd.. that kinda thing, it would be perfect.
 
zakaree said:
hell yah ill rent it.. but ill be coming with it:) the rental fee can include either just the camera and myself as a handler (make sure no one opens up a shaken can of soda near it) or ill obviously rent it along with my DP/Camera operator Services.
Click to expand...

I'm thinking of doing the same thing.
Are you at all worried about getting many rental jobs because you demand to be on set? (excluding the need for a DP of course)
I personally would want to do all of the handling of the camera between the time that it's on the tripod. I'm wondering if I would get jobs that way. I'm assuming at least for the first few months of this camera's release it will be valuable to have a knowledgeable handler of the camera on set.

Thoughts?
 
Justin Anderson said:
I'm thinking of doing the same thing.
Are you at all worried about getting many rental jobs because you demand to be on set? (excluding the need for a DP of course)
I personally would want to do all of the handling of the camera between the time that it's on the tripod. I'm wondering if I would get jobs that way. I'm assuming at least for the first few months of this camera's release it will be valuable to have a knowledgeable handler of the camera on set.

Thoughts?
Click to expand...

you can also offer up just being a 1ac and get a lil extra cash.. i dont think anyone would be upset if your on set.. if anything they will expect you know alot about the camera.. therefore your a good asset to have on set in case the ac is not familiar with the camera
 
Justin Anderson said:
I'm thinking of doing the same thing.
Are you at all worried about getting many rental jobs because you demand to be on set? (excluding the need for a DP of course)
I personally would want to do all of the handling of the camera between the time that it's on the tripod. I'm wondering if I would get jobs that way. I'm assuming at least for the first few months of this camera's release it will be valuable to have a knowledgeable handler of the camera on set.

Thoughts?
Click to expand...


Personally I have my main focus pullers that I use and just because some person has a RED to rent would not mean I would want to hire them as a Focus puller. I started working in this bussiness doing SPFX from there I moved into working as a stuntman. After getting the crap kicked out of my body doing stunts for 3 years I realized that I wanted to be in the camera dept. I worked my way up the ranks in camera, 1 year as a 2nd AC 7 years as a focus puller and then up to Op., DOP and now am working as a shooter director. From what I experienced being a focus puller was by far the hardest job of all of them. I have a huge respect for focus pullers and personally Justin if you do not have any experience as a focus puller it is not something I would recomend just jumping into. On the other hand I am pretty sure projects shooting with RED are going to need some form of a digital accusition assistant, kind of like a film shoot 2nd AC. You would slate, assist the focus puller, and help with any complicated digital problems the focus puller runs into and download shot flash or red drives on to a computer hard drive. I could see you being very valuable in this position.

All that said if you have experience as a focus puller well then do that.
 
"I personally would want to do all of the handling of the camera between the time that it's on the tripod ........assuming at least for the first few months of this camera's release it will be valuable to have a knowledgeable handler of the camera on set."

i guess it all comes down to the type "job " it is on ... i can tell you that i have 1st & 2nd AC's - they handle the camera on set - nobody else - not the owner of the camera, nor the rental house ...
IMO the RED camera is NOT going to be that "difficult" to learn ... i guessing no more complicated then a 35/16 movie camera -far less learning curve then a cineAlta, varicam , viper etc with all their menu's ...most AC's are pretty sharp and learn fast .. pretty much setting up the RED and attaching this/that they already do with film camera's .. the DATA might be new but how it is handled will be decided before the camera rolls on set ... . the DP will have to know exposure lat and what happens when he/she under/over exposes which they'll know the basic's after a several test ... if one wants to be a DIT do not get in the AC's way ... now if you are a AC on the project and you own the RED being used then you'll have no problem moving camera from point A to B ... i always hire a AC based on their ability as a AC not on what equipment they own ...

if the owner of a RED that is rented feels they must move camera from point A to B then do NOT rent it out .. AC's take very good care of camera's and no matter how careful they do get scratches on em , they may get damaged during the project ?? ..
if you are going to say NO when they hang your RED on the side of a auto DO not go into rental business ... if you can't take the pressure of letting "go" of your RED do not rent it out ...

RED 103 will NOT be rented out .. if i'm "hired" for a job and we decide on shooting RED - they will rent one ( not from me- as i might have 2nd thoughts saying hang it on side of auto !!) ... of course i will sell out for 5k a day ... friends shooting their own personal projects get free use of RED 103 ( they must get insurance) ...
 
I would rent out my RED #43, but any little scratch or ding would bother me, as I keep my equipment looking new. I guess if I got a really good offer I would sell it and buy another later.
 
We'll be one of those San Francisco Red rental places. And I'll be happy to let your camera collect dust so you can help pay for mine. ;-)

But I do like the idea of the "Red Tech" to help smooth things out on the set. Plus I like to see how other DPs work ... there's always a free lesson in there somewhere.

Jason
 
Isn't that what you really do when you go to a shoot and bring your own camera anyway? I basically get a better day rate when I can show up with gear. If a production company/ad agency wants to bring in a different/shooter Dp whatever then I could care less. With RED it is going to be workflow dependent and if you can be on the set to provide tech expertise and workflow set-up then that is the ticket.....
I am doing the same thing with HVX200.
But no - I would never just rent out the RED to any Yahoo with a credit card.
 
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