This is an equipment hire list, NOT a sales list.
As a general rule, I don't hire out equipment without myself going with it, although there are some of the smaller, older, or more robust, things that I'm less precious about. I'm mainly a video production house, not a hire facility, and this is the equipment I use with my own work. i.e. This equipment may be used as part of a job, it's a list of most of what's available, and the costing for using it. Most of the equipment forms part of my edit suite, or location shooting kit.
Most filming or editing jobs won't have an increase in the edit suite hire rate to use some extra equipment, though it may involve some additional set up time. Setting up time will be included in the hourly rate the equipment is hired for (the gear is hired for the time you occupy it to the exclusion of other work, not by the amount of time you record onto tape).
The following prices (current as of the dates written next to them) are only the costs involved with hiring the equipment. Additional staffing and transportation costs may need to be factored in. And you may need to check whether the pricing has changed on any item with an old date.
We also have a collection of retro gear (some listed separately) for special needs.
NB: Some equipment is currently scheduled for maintenance. It may require inspection or repair work.
| Quantity | Item | Rate (each) | Rate last updated |
|---|---|---|---|
| 1 | Panasonic AG-7650 time base corrected S-VHS editing player, with time code card (VITC/LTC) | $35/hourly
$250/daily |
05 Dec 2006 05 Dec 2006 |
| 1 | Panasonic AG-7750 time base corrected S-VHS editing recorder, with time code card (VITC/LTC) | ||
| 1 | Panasonic AGA-750 control track referencing edit controller (overall edit suite details) | ||
| 1 | Panasonic F250 3-CCD camera with eyepiece style of viewfinder. Studio back-end provides composite video out, S-Video Y/C video out, genlock video in, and the multicore connector also provides RGB or YUV output and line-view input. Removal of the back-end, to use the dockable recorder, leaves you with just two composite video outs (camera and recorder outputs) and a genlock input. Camera head has an unbalanced XLR microphone connector. Fujinon 7·5–90 mm servo zoom lens, iris opens to F1·4. | $250/daily | 05 Dec 2006 |
| 1 | Panasonic AG-7450 S-VHS recorder docked with the (above) F250 camera (modified so the camera is still genlockable). Has a VITC and LTC time code generator. Has two balanced XLR microphone/line input connectors (unpowered), RCA line out (mono track 1 or 2, linear or FM HiFi tracks), mono 3·5 mm headphone output (same signal as line out, and with a volume control), and BNC video out. | ||
| 1 | Black aluminium Manfrotto tripod with 90–140 mm (ART#250) legs, 116Mk2 fluid pan/tilt head (with ¼″ and 3/8″ camera mounting threads, moveable wedge plate for balancing camera loads, variable pan and tilt drag friction controls, and a reliable tilt lock), legs have rubber feet with retractable spikes, a separate spider-spreader that tripod is strapped on top of (it has a flat base—no spikes will go through into a floor), a separate spider with wheels not really good enough for tracking shots but useful for quickly moving between static shots, Fujinon servo zoom stub on pan handle with record/pause trigger, and line-view/review button. The tripod is designed to handle the weight of the above camera, or greater. | ||
| 3 | 12 Volt battery packs, each lasts about 2 hours under optimum conditions | ||
| 1 | Battery charger (takes about 4 hours to charge one of the above batteries) | ||
| 1 | Trickle battery charger (takes at least 24 hours to charge one of the above batteries) | ||
| 1 | 12 Volt mains power supply | ||
| 2 | Philips LDH1 three-tube studio television cameras (1970s vintage). These are really only suitable for low budget community television productions, these days. Either with a lot of lighting, or for outdoor filming. | $40/daily | 17 Jan 2007 |
| 2 | Camera CCUs (provides control-room adjustment of white balance, black balance, iris, pedestal, and registration). The rack unit provides for intercom, tallies, RGB video out, line view return, cable compensation, and two four-output video distribution amplifers. | ||
| 2 | 25 metre multi-core cables (daisy-chainable into one 50 metre cable). | ||
| 1 | Heavy-weight wooden tripod with cam-based counter-balancing. Has two sets of cams for different weights/loads. Uses a standard 3/8″ mounting thread for use with any professional cameras. The mounting thread is repositional, via a worm drive, to balance different camera loads. There's one custom-wedge plate for one of the LDH1 cameras. NB: I only have one tripod for these cameras, you'd have to source another one. Last time we used both cameras, during one of the 1990s Adelaide Fringe Festivals, we borrowed one from the ABC. |
||
| 2 | JVC KY-2000B three-tube industrial video cameras (1980s vintage). Really only suitable for low budget community television productions, these days. Either with good lighting, or for outdoor filming. | $40/daily | 17 Jan 2007 |
| 1 | Camera CCU (provides control-room adjustment of white balance, black balance, iris, pedestal, registration, and gen-lock phasing). The rack unit provides for intercom, tally signalling, RGB video out, line view return, cable compensation. | ||
| 1 | 25 metre multi-core cable (and several shorter ones) | ||
| 2 | Microphone floor stands with folding feet, telescopic boom, all sections with clamps that don't droop, upright section 1–1·68 metres, 90–167 cm boom section, can go 3·17 metres straight up, or be angled for overhead work (either case would require weighting the base down) | $15/daily | 05 Dec 2006 |
| 3 | Nakamichi CM300, studio-quality, electret condenser microphones. Internal 9 Volt battery powered only, each with CP-1 uni-directional and CP-2 omni-directional capsules, and internal attenuators for very loud location work | $30/daily | 05 Dec 2006 |
| 2 | Nakamichi CP-4 super-directional shotgun microphone capsules for the above microphones, with foam windguards (no windcages) | ||
| 3 | Microphone desk stands (small fold-up tripods with approx 15 cm legs) | ||
| 1 | gooseneck section, with male and female microphone stand threads at each end, approx 30 cm in length. | ||
| 1 | Sennheiser ME80 electret condenser, shotgun pick-up pattern, microphone, internal battery or phantom powered, no foam windguard or windcage | $15/daily | 17 Jan 2007 |
| 1 | Nady wireless tie-pin microphone transmitter and receiver pair, both halves are belt-pack style units, both require a 9 Volt battery (ordinary rectangular press-stud type as used in transistor radios over the last few decades) | $20/daily | 05 Dec 2006 |
| 1 | AKAI GX-210D quarter inch reel-to-reel, three head, stereo tape deck. Mains powered only. Uses the small thin type of spool hubs (as on domestic decks), large NAB style hubs would need an adaptor (which I don't have). Takes up to 18 cm (7″) spools. Quarter tape width track sizing, flipping the tape plays two other tracks between the others (the deck can play both sides without manual flipping—it has a reverse drive, and head switch, feature). Runs at 4.75 or 19.5 cm/s (3.75 or 7.5ips) tape speeds. Supports normal and S.R.T. tape. Stereo, two-channel, recording only. | $15/daily | 05 Dec 2006 |
| 1 | Revox A77 MK III (1973 vintage) quarter inch reel-to-reel, three head, half-track stereo tape deck. Mains powered only. Uses the small thin type of spool hubs (as on domestic decks), large NAB style hubs would need an adaptor (which I don't have). Takes up to 26.5 cm (10.5″) diameter spools. Near full tape-width track coverage (there's a guard band between tracks), flipping the tape over will play it backwards, you don't get another side to the tape (recorded between the tracks), as on some domestic stereo decks. Runs at 4.75 or 19.5 cm/s (3.75 or 7.5ips) tape speeds. NAB recording equalisation, and NAB or IEC playback equalisation. Individual track one and two recording control. | $15/daily | 05 Dec 2006 |
| 1 | Liteon LVW-5005 combination DVD/CD recorder (out of service) | $60/daily | 05 Dec 2006 |
| 1 | Philips DVDR 3460 DVD recorder | $60/daily | 14 Jul 2008 |
| 1 | LG DV4721P DVD/CD player | $15/daily | 05 Dec 2006 |
| 1 | Realistic vinyl record player, with direct drive turntable, and moving magnet cartridge. 33/45 RPM only. | $10/daily | 05 Dec 2006 |
| 1 | Astor audio mixer with 12 balanced microphone and line inputs (XLR and 6·5 mm TRS, respectively), 2 (main/stereo) balanced outputs (XLR and parallel 6·5 mm TRS), two balanced auxillary sends and receives (6·5 mm TS) | Included with edit suite | |
| 1 | Yamaha MC802 audio mixer with 8 balanced inputs (XLR & 6·5 mm TRS), 2 (main/stereo) balanced outputs (XLR), several (6·5 mm TS) unbalanced auxillary sends and receives | $60/daily | 05 Dec 2006 |
| 1 | JVC KM-2000 analogue composite video mixer, with 8 main video inputs, 3 main video outputs, genlockable or internal SPG, 3 blackburst outputs, three program buses (one upstream mix/effects, one downstream mix) and one preview bus, upstream lumakeying, upstream chromakeying from an RGB key source, downstream title keyer, all mixable inputs require synchronous (genlocked) video sources | $150/daily | 05 Dec 2006 |
| 1 |
Panasonic MX-10 digital mixer, quite awful 1990s domestic equipment (aimed at VHS gear), able to mix two non-synchronous composite video sources (one is re-synched to the other), simplistic digital video effects to one input bus (field still, strobe, pixellation, posterisation), basic wipes and dissolves, downstream title keyer, rudimentary audio mixer. This is one of the few things I'll hire for unsupervised use. |
$10/daily | 05 Dec 2006 |
| 2 | Amiga 1200 genlockable computers for graphics/titles | $20/daily | 05 Dec 2006 |
| 5 | Colour video monitors, 34 cm, underscanning, composite or Y/C video inputs | $15/daily | 05 Dec 2006 |
| 2 |
Colour video monitors, 34 cm, medium/low resolution, RGB video and separate sync inputs. These are some of the few things that I'll hire for unsupervised use. |
$5/daily | 05 Dec 2006 |
| 3 | Monochrome video monitors, less than 34 cm, underscanning, composite video only | $5/daily | 05 Dec 2006 |
| 3 | 50 metre general purpose camera cables, multicore with two video lines (BNC connectors), a tally line, one spare unbalanced line (6·5 mm TRS connector), in-built intercom stations (using 5-pin XLR connector), gaffered to a mains power lead. Requires long video cable compensators for good video quality, the below-mentioned rack has them. | $25/daily | 05 Dec 2006 |
| 1 | Location filming rack, holds vision mixer base unit, intercom unit, video distribution amplifiers, cable compensators. It's a wooden case for carrying some equipment that's already wired together, with front and back lids to help protect the equipment against damage during transport. | Included with gear | |
| 1 | Location taping rack, holds S-VHS edit suite, plus space for another device. (Can be seen on the video editing page.) | Included with gear | |
Basic crew (camera operators, sound, etc.) This estimated rate is subject to individual's agreements, whether full or half day hire is applicable or acceptable, skill levels, etc. Or you can supply your own crew, subject to them being trained to a sufficient level for the gear that they'll operate. |
~$200/daily | 17 Jan 2007 |
I have tripods and microphone stands that don't droop nor have stripped threads, plugs and sockets that don't need fiddling with, equipment that just works, etc., because I don't hire them out for unsupervised use. I use the gear for my own work, and need it to be reliable. I do not intend getting into the situation where I have to replace gear due to ham-fisted abuse. Don't expect me to change my mind about hiring equipment without supervision &/or training.