Who is considering renting out their RED?

[Justin Anderson]

I am considering renting it out for awhile to cover costs. I'll definitely be getting it insured.
For those of you that are, what are you going to do if your camera is broken while on a shoot? Obviously you can't just get a new RED; it's going to take a while for these things to be ready-to-order.

any thoughts?

-Justin

[Sanjin Jukic]

I did some plans to rent it and now just watching what is going on and what could be possible in the future. We are all the neo-futurists. Believing and living in the future. THE FUTURE IS RED.

[Eirik Tyrihjel]

Mine will be for rent, but only to people I have established a relationship with or with me or one of "my people" present as technician...

I am not buying the RED to rent it out primarily, but I will be happy to help out and make some extra money...

I have already spoken (or weritten acutally) to other RED reservation holders in my area, and will keep in contact with those, so that we can all help each other out in case of technical problems. (for a fair compensation obviously.)

[Mark Thorpe]

Same as Eirik,
I'll be making my RED available for underwater purposes only. I guess I am lucky in one way as I won't be needing all the accessories as those who choose to film on land but I'm having nervous twitches as I get closer to realizing how much the underwater enclosures are going to cost me. I will only be renting this system out to trusted and known entities.

Cheers,
Mark.

[Justin Anderson]

I'm thinking of the possibility of demanding to be the handler of the camera at all times while it's not secured to a tripod, but that might be way too inconvenient and I don't know if anyone would rent that(unless I was significantly cheaper than the competition).

the insurance is not the issue(I WILL get this thing insured), the issue is how I'm going to work off my debt with a broken camera...and I know that replacing a broken RED wouldn't be an option any time within the next year.

baah....thoughts?

[Jared VanLeuven]

We've been unofficially approached by an established local rental house, looking to handle the whole rental process for us (their insurance on top of ours as well). Makes me wonder if I should reserve another one!

[Vladimir Eugene]

I am definitely considering it since my project is not ready yet... and to recoup some of the initial investment.

[Billy Summers]

I always end up renting gear (ie. Lights/Cameras/etc.). Mostly because it's hard to refuse money when your not working or using a specific piece of gear.
Although I always end up a little disapointed at how gear gets treated. If it's a "trusted entity" that understands your specifically respectful and gentle needs then it can be okay. But things can go wrong with even the most trusted crew.

This brings me to my next question: How BOMBPROOF will the REDCAM really be?

[Steve Sherrick]

I have a feeling in the initial months of Red's release that clients who do decide to use it as the format of choice will be willing to pay for a tech(red owner) to be on set. However, as they become more immersed in the industry, my feeling is that luxury may go away. They may still want a tech, but they may have someone they want to put in place or the DPs and ACs might handle a lot more once they are familair with it. That's just a gut feeling. That's why I think it will be important for those who are looking to make a living off this camera to become a top notch DP/camera op as quickly as you can so that they're hiring you and your camera to shoot the film/video. Otherwise, you may have to eventually just rent it out as a camera rental only.

Steve

[donatello b]

i think on digital cinema shoots they will want a DIT ( or some person) ..
sorry my AC's don't have time to set up or operate video village. if Director wants to see playback of scene with LUT applied ..AC's don't have time ...
AC's will learn the camera but clients/director/producer will always be asking "is that the way it's going to look " as they view monitor - and with on set LUT's they are going to want to see a few settings ( just because they can).
AC's need to be at the camera not over in the viewing village ....
a DIT or a person that can keep all those in video village happy will be in demand!!

[MikeCurtis]

I bought my Red SPECIFICALLY to rent it out - and I didn't decide that until after I'd seen the footage this summer. I'm talking to some local folks who have a bunch of 35mm lenses, so that should be interesting - need one in Central Texas? And need somebody to talk to about all the workflow? Gimme a shout....

-mike, shameless huckster

[Steve Sherrick]

Donatello,

I was actually referring to DPs and ACs eventually getting to know the camera really well, i.e. where things are in menus, etc so that they will have to rely less on those who got their hands on one early in the game. There will still need to be a digital technician(s) on big shoots, but not sure that they will always hire the person renting out the camera as that technician. They may have previous relationships they have established, etc. This business can be like that. But I think initially, Red camera owners will probably be able to rent themselves out with the camera. And of course everyone's situation is going to be different and what market you're in will have an impact on this as well.

[sandesh]

Have you guys figured out the dust... other then camera body your biggest risk in renting will be the sensor. You will need to figure out the dust on the sensor before and after return. How will you charge your customer if you see dust, sticky....after return.

You will need to establish a process , to check and quantify the damage after each rental...

This is not a FILM camera...

[Eric MacIver]

I've been in both positions, and with our Mini35's, I've worked with a few private owners. From what I've experienced, I really think private owners are best served by either going on set with their gear or subbing it out through an established rental house with insurance and technical savvy.

If your gear goes out without you it will inevitably be treated worse than you'd like. You will spend time repairing it. Be prepared to accept scuffs, wear and tear that doesn't affect functionality.

If you go it alone, you will also be requested to provide equipment that you don't have, which makes you concentrate more on the business of renting than you might like.

Rental houses can repair and take care of the gear, provide customers with accessories and provide you with peace of mind in terms of loss or functional damage. (Still, wear and tear will occur).

Going on set is great though, as often producers will feel comfortable letting one line item (or any you provide) move from the rental company quote to you (part of the crew), and you can bring your gear to the rental house to prep it as needed.

That's my two cents after multiple years in the business as a rental company owner and DP.
___________________
www.IndieRentals.com
www.RedRental.com
www.MadMojo.com

[Justin Anderson]

Thanks a lot for the advice. :cool:

-Justin


I've been in both positions, and with our Mini35's, I've worked with a few private owners. From what I've experienced, I really think private owners are best served by either going on set with their gear or subbing it out through an established rental house with insurance and technical savvy.

If your gear goes out without you it will inevitably be treated worse than you'd like. You will spend time repairing it. Be prepared to accept scuffs, wear and tear that doesn't affect functionality.

If you go it alone, you will also be requested to provide equipment that you don't have, which makes you concentrate more on the business of renting than you might like.

Rental houses can repair and take care of the gear, provide customers with accessories and provide you with peace of mind in terms of loss or functional damage. (Still, wear and tear will occur).

Going on set is great though, as often producers will feel comfortable letting one line item (or any you provide) move from the rental company quote to you (part of the crew), and you can bring your gear to the rental house to prep it as needed.

That's my two cents after multiple years in the business as a rental company owner and DP.
___________________
www.IndieRentals.com
www.RedRentals.com
www.MadMojo.com

[Martin Drew]

I bought my Red SPECIFICALLY to rent it out - and I didn't decide that until after I'd seen the footage this summer. I'm talking to some local folks who have a bunch of 35mm lenses, so that should be interesting - need one in Central Texas? And need somebody to talk to about all the workflow? Gimme a shout....

-mike, shameless huckster

So are you going out with yours Mike? I am interested how you see aquisition fitting into your workflow.

M

[Adam C Lubkin]

I'll be renting out #72 when I'm not shooting. I may go through a rental house - if I can find one that makes a fair offer - but in the meantime I'm making arrangments to rent on my own.

[Curran Giddens]

I will be looking to make a deal with a rental house to rent mine (#561) for the months between camera delivery, and delivery of my Red Zoom lens (#121). The best deal for me would be if the rental house only used my camera as a backup, instead of sending it out in the field everyday getting scuffed and scratched. I would probably let it go for a really good price if I knew it was just going to be sitting on a shelf. This way the rental clients know they have a backup available for emergency, and I can make a little something instead of the camera sitting on my shelf making nothing.

[Eric MacIver]

Any rental house that has their own stock (such as we will have) will always use sub-rented (items owned by another entity) after they use their own, because usually they pay a per-use charge.

[Roxco]

Because there was a lively discussion on RED and renting on TWIM

This Week In Media - http://www.twit.tv/TWiM

I usually enjoy their banter and they are pretty on target, but biased towards Macs.

And also Graeme was on DP Buzz this past week talking CMOS & CCD's:

http://www.digitalproductionbuzz.com/Archives/

Bottom line is the TWIM panel thinks there will be plenty of RED to rent in SF and so buying may not be necessary/recommended for the casual user.

And shooting 2K with a 4K sensor seems to be a sweet spot.

Rosco

P.S. Also Costco had a great TEAC iPod Alarm Clock Radio for $40

http://www.teac.com/consumer_electronics/SR-L200i-W.html

[Jason Francois]

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. :)

[Zakaree Sandberg]

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.

[Justin Anderson]

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.


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?

[Zakaree Sandberg]

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?

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

[Finner]

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?


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.

[donatello b]

"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) ...

[Joe Aurili]

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.

[James T Mather]

I will rent out my red....but only as a crash camera.

[Jason Mitchell]

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

[Michael Schrengohst]

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.