Cost
- Thread starter DannyG
- Start date
i will ask Roy or Franz how much these are
i will ask Roy or Franz how much these are
I think they lease the cameras for shooting. Not sure what they cots but I will try to find out. I will be calling both Roy Wagner today for an update on the digital workshop and i will ask how they do it.
Kim
i will ask Roy or Franz how much these are
I think they lease the cameras for shooting. Not sure what they cots but I will try to find out. I will be calling both Roy Wagner today for an update on the digital workshop and i will ask how they do it.
Kim
sorry, we talked about other things but I will ask him
sorry, we talked about other things but I will ask him
We talked about trying to get a digital workshop together and got so involved in that that I forgot to ask him. I will find out though. I am interested in knowing what all the high end cameras go for and how that works. I think they lease them and that is how it is done. There are two companies, Panavision and Arri.
sorry, we talked about other things but I will ask him
We talked about trying to get a digital workshop together and got so involved in that that I forgot to ask him. I will find out though. I am interested in knowing what all the high end cameras go for and how that works. I think they lease them and that is how it is done. There are two companies, Panavision and Arri.
FullSaileee
New member
Re:
Re:
Well Panavision cameras can only be rented any how the arri cameras can be bought Panavision cameras are more industry standard but the arri's are pretty close too but majority of the arri's are usually used to shoot indipendent films.
Re:
Well Panavision cameras can only be rented any how the arri cameras can be bought Panavision cameras are more industry standard but the arri's are pretty close too but majority of the arri's are usually used to shoot indipendent films.
K
Kevin_Zanit
Guest
I used to work at Panavision Woodland Hills, so I can probably answer most Panavision questions.
As was said before, Panavision gear is rented, not purchased. They also rent Arri gear as well (among others).
It is really hard to pin down what is good about one system versus another because they all have their own pluses and minuses.
I think the Arri 435 is a better high speed camera than the Panastar, but I love a good old GII for normal work (its simple and reliable).
Talk to a few ACs and you will here stories of a body going down whether it be Arri or Panavision (the last show I was on we went through 2 bodies).
The big difference in renting from Panavision is the lenses, which I feel are the best around, and the service, which I feel is the best around. This is all highly subjective, just my point of view.
I would not really recommend owning sync sound film cameras because of the service required to keep them in good shape. Renting is how its done, for good reason.
Panavision charges a 2 day week (in other words multiply the day rate by 2 and you get the weekly rate). This is very reasonable. They will also work with you to fit your budget (as will most rental houses). No one pays the "book rates" these days.
Kevin Zanit
As was said before, Panavision gear is rented, not purchased. They also rent Arri gear as well (among others).
It is really hard to pin down what is good about one system versus another because they all have their own pluses and minuses.
I think the Arri 435 is a better high speed camera than the Panastar, but I love a good old GII for normal work (its simple and reliable).
Talk to a few ACs and you will here stories of a body going down whether it be Arri or Panavision (the last show I was on we went through 2 bodies).
The big difference in renting from Panavision is the lenses, which I feel are the best around, and the service, which I feel is the best around. This is all highly subjective, just my point of view.
I would not really recommend owning sync sound film cameras because of the service required to keep them in good shape. Renting is how its done, for good reason.
Panavision charges a 2 day week (in other words multiply the day rate by 2 and you get the weekly rate). This is very reasonable. They will also work with you to fit your budget (as will most rental houses). No one pays the "book rates" these days.
Kevin Zanit
K
Kevin_Zanit
Guest
Here are the rates for a Panaflex GII. This is a fairly standard work horse of a camera:
The camera body, with various accessories (follow focus, cables, rods, long eye piece, matte box, etc) is $2,211 a week.
A 1000' mag is $159 a week and you would want at least 4.
A 400' mag (really a 500') is $108 a week. You would want 4-6 depending on how much hand held/ steadicam work is involved.
Now the lenses:
The Primo primes go for $300-400 a week each (they all fall somewhere between). You want a full set of these (roughly 9 or so lenses, depends on your needs).
For Zooms:
4:1 is $1,056 a week
11:1 is $1,257 a week
3:1 is $960 a week
This a very basic spherical package.
If you wanted a Millennium XL, in studio mode (the Panavision flagship at the moment) you are looking at $4,299 a week for the body.
Remember you also need insurance of $300,000 equipment, and $1mill. liability.
Kevin Zanit
The camera body, with various accessories (follow focus, cables, rods, long eye piece, matte box, etc) is $2,211 a week.
A 1000' mag is $159 a week and you would want at least 4.
A 400' mag (really a 500') is $108 a week. You would want 4-6 depending on how much hand held/ steadicam work is involved.
Now the lenses:
The Primo primes go for $300-400 a week each (they all fall somewhere between). You want a full set of these (roughly 9 or so lenses, depends on your needs).
For Zooms:
4:1 is $1,056 a week
11:1 is $1,257 a week
3:1 is $960 a week
This a very basic spherical package.
If you wanted a Millennium XL, in studio mode (the Panavision flagship at the moment) you are looking at $4,299 a week for the body.
Remember you also need insurance of $300,000 equipment, and $1mill. liability.
Kevin Zanit
35mm is never cheap to shoot unless a few thousand feet of film falls off the back of a lorry, but if you want to try doing it for less money there are old 35mm cameras that come up for sale every now and again for $2-5,000 or so which are supposed to be usable for sync sound production: I forget the model numbers and manufacturers of the ones I've seen. The downside, as mentioned, is that if they haven't been maintained properly you could be looking at a sizable bill to get them sorted, or big problems if they break down on the shoot.
Biscuithead
New member
Industry Questions
Industry Questions
Does anyone know if there has been a fundamental shift in how many companies are renting vs. buying in the past couple years? In motion picture industry? television industry?
And why the camera companies have been more competitive the last couple of years (Arri beating Panavision on price? or if Arri is starting to penetrate the schools more and starting to get more of a backing there? or if Panavision is still dominating for the most part and pricing lower to ensure Arri or any others gain traction?
Any help would greatly be appreciated.
Industry Questions
Does anyone know if there has been a fundamental shift in how many companies are renting vs. buying in the past couple years? In motion picture industry? television industry?
And why the camera companies have been more competitive the last couple of years (Arri beating Panavision on price? or if Arri is starting to penetrate the schools more and starting to get more of a backing there? or if Panavision is still dominating for the most part and pricing lower to ensure Arri or any others gain traction?
Any help would greatly be appreciated.
David Mullen ASC
Active member
Panavision and Arriflex rental costs are competitive -- you can get a low-end Panaflex Gold for the cost of renting an Arri-BL4S, you can get a GII or Platinum for the cost of renting an Arri-535B, you can get a Millenium for the cost of renting an Arricam, etc.
I've done most of my 35mm features on Panavision gear, partly because they ARE price-competitive. Plus they are nice people, the gear is well-maintained, and the lenses are good.
They have a very large inventory which makes it easier to get deals there. It's also one reason why so many Hollywood productions shoot on Panavision; the other rental houses can't supply enough cameras to match the production level anyway. Especially for multi-camera television. And Panavision by far has the largest inventory on anamorphic lenses.
Outside of Hollywood, Arriflex is much more common, especially in Europe.
All of this has little to do with price, but mostly due to the size of the local rental facilities. If the biggest local rental house specializes in Arriflex, then more productions there are going to be shot with Arriflex cameras.
I've done most of my 35mm features on Panavision gear, partly because they ARE price-competitive. Plus they are nice people, the gear is well-maintained, and the lenses are good.
They have a very large inventory which makes it easier to get deals there. It's also one reason why so many Hollywood productions shoot on Panavision; the other rental houses can't supply enough cameras to match the production level anyway. Especially for multi-camera television. And Panavision by far has the largest inventory on anamorphic lenses.
Outside of Hollywood, Arriflex is much more common, especially in Europe.
All of this has little to do with price, but mostly due to the size of the local rental facilities. If the biggest local rental house specializes in Arriflex, then more productions there are going to be shot with Arriflex cameras.
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