Periodically we like to pose a challenge for our moderators:  Figure out what gear you'd buy to make a commercial vvideo project on a fixed equipment budget.  This year we gave Bill a raise (hey, he earned it) and set the high end of the equipment budget at $15,000.00.  Mike took over the 10K duty and Joe and I handled the budget end of the spectrum at 5K and 3K respectively.

What's amazing to me is the high end of our scale is about half of what a decent video camera used to cost.  These days, I'd take the challenge to make a commercial product at any of these price points.

We started doing this in response to a lot of posts that started out, "I have a $5,000.00 equipment budget and am trying to figure out what camera to buy."  As if the camera could, by itself, make the movie.  And because most of us have sat through endless independent films straining to hear the dialog because the producer didn't consider sound in their original equipment budget and faces cast in shadow because they didn't invest in a decent set of lights.

We had to make some assumptions.  The budgets do not include a computer or editing software.  Most people already have a computer and tastes in editing software vary widely.  Those two items can add significantly to cost of a project but because they were so variable and computers so common, we decided to leave it out. This is just kit, minus props, talent and costumes for the production.   Prices are approximate and don't include shipping.

Bill's $15,000.00 Equipment Picks
The last 2/3" chip camera I purchased cost $15,000 for the body alone. Add a halfway decent lens, a charger and enough batteries to shoot for a day and the package peaked out at about $30,000. I thought that was really nice, because my previous camera had listed at $42,000 for the same package. And, I could go all the way back to the old Ikegami HL79, which was a $62,000 package. In today's dollars, the Ikegami probably would have got close to $100,000, and the BVW300's $42,000 price tag would be probably close to $60,000. The $15,000 DSR500 isn't all that old, so the inflation factor probably isn't relevant there.

So, if you're thinking along the lines of a "fully professional" 2/3" chip camera, $15,000 is pocket change.

However, if somebody wants to put together a production package today for $15,000--there's no need to think along the lines of a 2/3" chip camera. Recently I bought a Canon XH A1 for $4,000. It looks better than that $30,000 2/3" DSR500. And the price has dropped to $3500 already, so the $4K buys you not only the camera, but a Petrol or Portabrace bag, a protective filter, an ND filter, an extra battery and tripod mounting plate.

So that's the basis of my $15,000 fantasy package here: the Canon XH A1 package for $4,000.

There are other HDV cameras in the 1/3" chip category out there, but I think the Canon is the best bang for the buck. And it does 24p, which, by the way, is looking really nice. I can shoot 24p, capture at 24p in FCP, and edit in a 24p time line. If the show goes to DVD, it stays 24p all the way. DVD players will automatically do the reverse pulldown when playing back on a non-progressive TV. My second choice in a camera would be the Sony Z1, but it costs a bit more and doesn't do 24p.

In addition, the Canon has a nicer lens that's 4.5mm at the wide end, which is about 32mm in "real lens" terms, and it's a 20X zoom, which is phenomenal. It's nice and sharp too. It's a little more compact than the Z1, but they're basically the same size. I like the way the Z1 puts the LCD screen up on the top of the handle, and it's a big screen. The Canon screen is small but it's razor sharp, and you can even focus with it fairly easily. There's also a peaking switch and magnifier switch of you want to really, really be sure of your focus. You can also do focus shifts that are repeatable--something the older electronic lens cameras could not do. Instead of markings on the lens, you get a readout in the LCD and viewfinder, and you can read in feet or meters. The Z1 does this too.

Enough about cameras. The camera is only the tip of the iceberg if you want to make a movie. I am assuming, by the way, that this hypothetical $15,000 I have to spend will go toward equipment that would be appropriate for micro budget features, documentary production and the occasional corporate training film and local TV spots. So what else do we need to accomplish those tasks?

Sound Gear
I want two mics--a wireless Sennheiser G2, for $500, and an Audio-Technica 897 shotgun mic for $600. The G2 is a better wireless than you have a right to expect for its cost. It'll do the job, but you need to take care of it. It's not built to the tank-like specs of the expensive systems. I would prefer a Sennheiser MKH416 or MKH60 over the AT, but we've got to watch our money here, and the AT is good enough. There's always something better. I think the AT will do the job very well. Most everything it would be used for is dialog, and it's good enough for that.

The shotgun mic needs a fishpole and shock mount, and I like the Gitzo carbon fiber ones, about $350 for both items.

For a mixer, I'll take the Shure FP24, which is about $850. It's about like the industry standard FP33 but only has 2 channel inputs. We only have 2 mics, so what the heck--it's significantly cheaper than the FP33 and, again, will do the job.

OK, we've got the camera, we've got sound. Now we need some lights.

I'll take a 4-light Altman fresnel kit for about $1900. It includes two 650 watt fixtures and two 300 watt units. I like this Altman set better than the equivalent Arri or Lowel. I like the equivalent Mole-Richardson set a little better, but they cost more. All these fresnels are about the same. The Altmans seem very well built to me and I like the stands better than the Arri stand, as well as the way the bulb-changing door opens. Any of the fresnel brands would do--it's just a matter of personal preference here. I've had this same set of Altmans for several years now, but they cost more when we bought them. Like cameras, some lights have gone down in price. But not HMIs. HMIs are to rent, not buy. I could spend this entire $15K on HMIs and only end up with 3 small lights. Better to buy what works for most things and rent HMIs when needed and when the budget allows.

In addition to the fresnels, I want 3 Lowel Caselight 2 fluorescent kits--for about $2500 (they're $830 each).

So, 3 Caselights and 4 fresnels. That'll get me through a lot of things. I'm paying a premium here for the convenience of fluorescents, but I've been using them for a few years now, and believe me, they're worth it. I just shot an interview with a lawyer tonight with a single Caselight 2 and available incandescent light for fill. Looked great.

Next, a dolly and jib system. The Losmandy spider dolly system with a couple of rolls of Flextrack can't be beat for the money. The $2400 I'll spend for this includes the 3-leg dolly, a tripod for it with jib adapter plate, and the track.

For a jib I'll take the cheap-at-$500 Glidecam camcrane II. It's smooth as silk, lightweight and cheap.

And a tripod for the camera (the one for the dolly is for the jib; it's not a good regular camera tripod). For a lightweight camera like the Canon XH A1, which is 5 pounds loaded for bear, is the Libec LS22. It's a little over $400 with center spreader. The center spreader is handier than a ground level spreader because you never have to take it off. Say you're on a staircase and need to extend one leg down a step or two. With a ground level spreader, you'd have to remove it to do that. This tripod is perfectly smooth, but like all the cheaper tripods, it's not idiot-proof. With a more expensive tripod like the $1500+ Gitzo, you can make a pan, stop and remove your hand and if all is balanced properly, the camera will stay right there. With the cheaper heads, there's a very slight bounce back at the end. So you have to be a little more careful with your moves. I've used older heads years ago that did this, and it's no problem for me. But if drink too much coffee and have the shakes, maybe  you should spend more on a head.

ALTERNATIVE
Instead of the dolly and jib, for about the same money a steadycam type device might be more appropriate, depending on the type of shooting you're going to be doing. Glidecam and Varizoom have models in that price range that will handle the XH A1 easily. A steadycam is not a substitution for a dolly. You can't do those super slow, controlled, perfect moves with one. But you can run up and down the stairs with one, and you can't do that with a dolly. In an ideal world having both would be good, but for our available money, that's not gonna happen. We have a Hollywood Lite system for a much bigger camera. That company's products are now sold exclusively by Varizoom, so if you buy a Varizoom that costs more than around $2500, there's a good chance it's a Hollywood Lite. It's a very good system and so is Glidecam. Steadicam itself is way overpriced, in my opinion. By giving up the dolly and jib, we can spend around $3,000 on a stabilizer rig, and both Glidecam and Varizoom have models that would work very nicely and gives a few hundred bucks back to perhaps buy another couple of lights--like maybe two Lowel DP lights. Having one or two open face 1K lights can be very handy sometimes. However, I wouldn't count on that because with the stabilizer package there are probably some options that would eat up that money.

By giving up the dolly and jib, we can spend around $3,000 on a stabilizer rig, and both Glidecam and Varizoom have models that would work very nicely. That saves a few hundred bucks back to perhaps buy a Compact Flash recorder. It's not necessary to shoot double system sound with our camera package, however when using any steadycam device, having a couple of audio cables dangling off the side of your camera affects balance and movement. For use with the Glidecam or Varizoom, I'd recommend a Microtrak M2 recorder and a couple of 2-gig CF cards. I have one of these and it's good enough quality. Much better than the Marantz 660, which I tried and found not usable because of noise levels. All my numbers here are rough figures. If a guy priced out this whole package carefully and shopped around, I think there might be enough money to get the Tascam P2 deck instead of the Microtrak. It's about $1K. But, I wouldn't sacrifice any lights or anything to get it over the Microtrak. You're not going to be doing that much double system sound recording.

Finally, I'll take 4 C-stands. A couple of big ones and a couple of little ones. That's about $600.

My total is up to about $14,700 now, if my arithmetic is correct. I could be fair and say that's for shipping, but that doesn't count. I think we also agreed that lamps, cables and stuff like that doesn't count either, right? But just in case, I'll put the 300 bucks toward audio cables, diffusion and color correction gels, some black wrap, gaffer tape, flags and so on. If all those don't count, what the heck, gimme a Portabrace cargo bag to put stuff in.

A quick summary of my package:

• Camera - Canon XH A1
• Tripod - Libec 22
• Sound - Sennheiser G2 wireless, AT 897 shotgun, Shure FP24 mixer, Gitzo fishpole and shock mount
• Lighting - Altman fresnel kit, Lowel Caselights
• Dolly/jib - Losmandy Flextrak system, Glidecam jib
• OR
• Steadycam - Glidecam or Varizoom
• Misc. - C-stands, flags, gels, scrims, black wrap, gaffer tape, cables, all that little stuff you must have

My only real set-in-stone issues are these: I don't want to go under 1/3" in chip size in a camera, I want acceptable quality audio capability, and I want some flexibility in lighting. I could duplicate everything on this list for about the same money and every single product brand name would be different, but I could do the same work with the same end quality.

Mike's $10,000 equipment picks
I’ll break this package down into 3 obvious components:

• Camera
• Sound
• Lighting

Camera Package
I am going to go with the now popular HDV format for the camera.

For the camera, we have the Sony HVR-Z1U.  A superb professional grade camera.  With a nice hardshell case from B&H, our total comes to $4,749.95.

We’ll need a tripod and a fluid head for this.  The Manfrotto 3046 with the 3460 fluid head will be a nice match for the Z1 and it comes in at $502.95

To round out the camera package, we’ll need some tape and spare batteries.  For the batteries I recommend the Power2000 NP-F970 long life.  It will last about 6 hours on average.  Let’s get 2 @ $76.50 ea.

For the tape, let’s select the Sony PHDVM-63DM DVCAM Master Digital Cassette.  We’ll get 5 @ $16.95

For added flexibility, we’ll toss in the Redrock Micro M2 3mm lens adapter for $995.

Sound Package
For our mic, we’ll select the Sennheiser ME66/K6P shotgun mic.  I have used this mic to great effect and while there may be cheaper products out there, I found this mic to provide great sound at a great price.  That’ll set us back about $479.00.

For our double system recorder, we can go with the superb Tascam HD-P2 recorder for $999.00 that will include a 2GB CF memory card.

We’ll toss in a decent XLR mic cable that will run the length of our boom and down the Tascam that is slung over the boom operator’s shoulder for $75.00.

Well need a shockmount (K-Tek K-SM Microphone Adjustable Shock Mount) for $120.00 and a boom (Gitzo G-556C Weekend 3-Section Carbon Fiber Boompole - Measuring 2.6 - 6.9' ) for $147.00

We’ll toss in a Mic Muff from Studio One for $40.00 for outside work and a Sennheiser MZW66 Foam Windscreen for indoor work for another $40.00

Lighting Package
The venerable Lowel DP4 package is pretty hard to go wrong with at $1570.

Summary:

• HVR-Z1U.  With a hardshell case $4,749.95
• Manfrotto 3046 with the 3460 fluid head $502.95
• Power2000 NP-F970 6 hour batteries - $153.00 (2 @ $76.50 ea)
• Redrock Micro M2 3mm lens adapter $995.00
• Sennheiser ME66/K6P $479.00
• Tascam HD-P2 w/2GB CF memory card - $999.00
• XLR Mic cable $75
• K-Tek K-SM Shock mount - $120.00
• Gitzo G-556C boom - $147.00
• Studio One Mic Muff - $40.00
• Sennheiser MWZ66 indoor windscreen - $40.00
• Lowel DP4 lighting package - $1570.00

Joe's $5,000 picks
In approaching a package at this price point, the goals I set for myself were:

1. Great value for the money,
2. Whenever possible, solid stuff that would take regular usage without breaking down and was of a good enough quality that I wouldn’t mind showing up at a professional shoot with it, and
3. Balance. I didn’t want to “blow the whole wad” on the camera.

Like Mike, I broke my selections down to the camera, sound, and lights.

In the camera department, I went with the Sony HVR-A1U, at $2199. A 1/3” single CMOS chip cam, it shoots in 1080i. There is no vaunted 24p mode, but at this price point I could easily “do it in post” with DV Film Maker.

I wanted something with a 1/3” chip because of the extra light requirements of HDV. And I definitely wanted XLR inputs for my sound. I knew that I wasn’t going to have enough in my sound budget for a separate sound recorder, and even if I did, there are times when you want/need to record straight to camera. I’ve used Beachtek type boxes before (I have one from Studio One sitting on a shelf). They work fine, but they are a major hassle that I just didn’t want to deal with. There’s just too many connections to come loose and too much to keep track of when you’re trying to get a critical shot.

I’d have loved to step up to this cam’s big brother, the HVR-V1U for $4800, or the Canon XH-A1 for $3500, but I thought that even the Canon would have broken my budget for getting a complete package.

For a tripod, I went with the Bogen 3046 legs with a 503 head. Not as sexy as my Miller D10, but I have to admit, a much better value. The 503 head is a true fluid head that does a decent job of panning, and the tripod is not one I would be embarrassed to own and use for a long time.

For audio, I centered my package around the Octava MK-012 with a hypercardioid cap, otherwise known in audio circles as “the little engine that could”. This mic sounds way better than its price point suggests. Its Achilles heel is that it can have higher than normal handling noise if you’re not careful with it. Therefore I also spec’d a good shock mount, the Baby Ball Gag, and the Windjammer to go with it. With this setup mounted on the 12.5’ Gitzo boom pole (or heaven forbid on cam for run and gun stuff) you have a mic that will capture much better than average sound either indoors or out in a variety of different conditions.

For lighting, the Lowel DP4 kit (which I spec’d in my 2005 list for a $5K DV package) would put the price tag a tad over the $5K limit. So I went with the DP3 package. I figure I could always through in a couple of Home Depot scoop lights or a work light spray painted black if I had to.

The total was just a bit under the $5K limit. I left enough wiggle room to get some gels, work gloves, fiberboard to make your own flags and cookies, and have enough for donuts and beer on a 5 day shoot.

I priced most of this stuff at B&H, as this is a fairly standard place with a decent rep. You could probalby save a few bucks shopping around, but as always, let the buyer beware.


The Camera: Sony HVR-A1U------------------------------$2199
http://tinyurl.com/yvonaf

Tripod: Bogen 3046 legs with 503 head-------------------$503
http://tinyurl.com/268nq7

Audio: Mic: Octava MK-012---------------------------------$185
http://tinyurl.com/2hmpx6
Baby Ball Gag-------------------------------------------------$139
http://tinyurl.com/2dyzt9
Windjammer----------------------------------------------------$70
http://tinyurl.com/yp8t72
Shockmount: K-tek KSSM-----------------------------------$120
Shoe Adapter---------------------------------------------------$14
http://tinyurl.com/2twhyn
18" Cable-------------------------------------------------------$17
http://tinyurl.com/3323sy
25' Cable-------------------------------------------------------$14
Headphones:Sony 7506-------------------------------------$99
Boom Pole: Gitzo 12.5' AL----------------------------------$185
http://tinyurl.com/2gwylw

Lighting: Lowel 3DP kit-------------------------------------$1285
http://tinyurl.com/238qyx

Total----------------------------------------------------------$4830

Chris' $3,000 picks
Staying with my tradition of taking the low end of the budget gets easier every year, but this is the first year that I really felt competitive.  Though I'm jealous of the dolly, jib and wireless mics Bill got in his package, the pro audio setup Mike got in his and the better quality equipment Joe was able to afford with a 2K cushion, I'm not feeling as insecure about my budget.  We all picked some flavor of HD cameras.  Bill, Mike and Joe got more manual control of their cameras, in the hands of a professional that can be a real advantage.  Bill and Mike have native 16:9 format chips in their cameras, which also offer superior options for 24p.  Native in Bill's camera, a good approximation from the Cineframe 24 feature in Mike's.  Joe got many of the same features in his camera choice, including Cineframe and Cinegamma, though on a single CMOS chip instead of the 3 chip configuration of Mike's big brother camera.  Joe didn't necessarily give up many of the manual control options Mike got, but they are buried under difficult menu options instead of outside on the camera itself.

Where I had to cut corners was by opting for an earlier generation HDV product and go with off-brand audio and support products.  Brand names in the video business have earned their reputation.  Going with off-brands is sometimes hit and miss but when you're poor you make do.

Camera: Sony HDR-HC1: $1,299.00

I gave up the decent 24p and a lot of manual control, but still a great camera for $1,299.00.  Though not everyone carries them anymore.

Rode VideoMic: $149.00
Rode Boom Pole: $99.00
10 foot audio cable: $19.99

Being on a budget I had to skip the carbon fiber boom poles and Sennheiser mics. The cable plugs right into the camera letting me skip the XLR adaptor.   The Rode VideoMic is used by a lot of budget indies and seems to yield good results.  You can go for that really pro look by adding this $30.00 DIY wind blimpy and save another fifty replacing the boom pole with a paint pole.

Budget blimpy

Lowel GO intro kit: $980.00

I could have pieced something cheaper together but this kit offers a lot of versatility and comes with a carrying case.  

Spiderbrace 2: $70.00

We don't have the budget down here for dollies, jibs or steady cams but we can get some of that flexibility with helpful tools like the Spiderbrace or The Shaft for 30 dollars more..

The Shaft

And last but not least.

AVAS TR-103 Tripod: $165.00

Not the biggest name in tripods but having one is indispensable.  It's not a name brand but it looks solid enough.

My total $2,781.99 and that leaves enough left over for a C stand, flag, couple skrims and anything else I can find in the used bin.

Bonus Special From Bill, The $500.00 challenge!
Like, suppose you're a high school kid and want to make a movie and you saved 500 bucks from working at the car wash last summer:

The JVC GR-D350 is $220.00 from B&H. It's miniDV, has "av dub mode", which I think means you could use a mic with a miniplug.

Get a 50-dollar mic from Radio Shack.

An extendable handle for a paint roller from Home Depot, about 40 bucks for a nice one. Rubber bands and gaffer tape to hold the mic.

Now we're up to about $320.

Three refelctor clamp-on work lights for up to 200 watt bulbs, about $45. One of those yellow stand work lights with the 2 250 watt lamps, about $50.

That brings us to $415.

If we're not counting gels and stuff like that, we could upgrade our audio by adding that last 85 bucks to the audio budget and get a little better mic.

Thereyago--make a film for 500 bucks! It could be done.