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 (either I operate it, or I supervise others operating 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, individually. 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 it being able to do any other work, not by the amount of time that you record onto tape).
The following prices (current as of the dates written next to them) are the general costs involved with hiring the equipment, individually. Additional staffing and transportation costs may need to be factored in. Combined hire of multiple pieces of equipment may be done at a discounted rate. Some equipment can include optional extra accessories at no additional charge, however this needs organising beforehand, as optional items are often left behind to avoid carrying everything and the kitchen sink on a job. 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, and other unlisted equipment. And we have contacts for other equipment. Please ask if you're looking for something in particular. We also have various broken equipment, or empty shells of equipment (defunct computer cases, video monitors, etc.), which could be used for inactive props when dressing a set.
NB: Some equipment is currently scheduled for maintenance. It may require inspection or repair work. The maintenance could be merely cosmetic, or affecting functionality.
Recorders, cameras, tripods, lighting, microphone stands, microphones, audio cables, tape decks, CD/DVD decks, audio mixers, video mixers, graphics computers, video monitors, camera cables, intercom…
|Quantity||Item||Rate (each)||Rate last updated|
|1||Panasonic AG-7650 time base corrected S-VHS editing player, without timecode reader card||Suite hire
|05 Dec 2006
05 Dec 2006
|1||Panasonic AG-7650 time base corrected S-VHS editing player, with VITC/LTC timecode reader card|
|2||Panasonic AG-7750 time base corrected S-VHS editing recorders, with VITC/LTC timecode reader/writer cards|
|1||Panasonic AG-7750 time base corrected S-VHS editing recorder, without timecode reader card|
|2||Panasonic AG-A750 control track referencing, two VCR, edit controller (overall edit suite details)|
|1||Panasonic AG-A800 time code or control track referencing, three VCR, A/B roll edit controller|
|1||Panasonic AU-A950 time code or control track referencing, four VCR, A/B/C roll edit controller|
|2||Panasonic F250 3-CCD cameras with eyepiece style of viewfinder, or 4-inch studio 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 (single camera)||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.|
|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|
|1||Black aluminium Manfrotto tripod with 90–140 cm (ART#250) legs, 100 mm bowl, and rubber feet with retractable spikes. A fluid pan/tilt head (116Mk2) 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, and two panning arms. A separate ground-level spider-spreader that the tripod legs are strapped on top of—it has a flat rubberised base, no tripod feet 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. Or separate mechanical linkage cables for focus and zoom. The tripod is designed to handle the weight of the above camera, or greater.|
|2||Black aluminium Manfrotto tripods with 95–151 cm (ART#350) legs, with 100 mm bowl, and rubber feet with retractable spikes. 116Mk3 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 separate pan and tilt locks), two telescopic panning arms, capable of carrying a 10 kilogram camera. Separate (ART114) spider with cable-guarded wheels.|
|2||Manfrotto (529B) hi-hats with 100 mm bowl (fits the pan/tilt heads from above Manfrotto tripods)|
|6||Panasonic WV-F15 ⅔″ single-CCD industrial video cameras, with studio kits (4″ CRT viewfinders, mechanical linkage lens zoom and focus remotes).|
|3||Panasonic WV-RC35 CCUs, for F15 cameras with pedestal, auto-iris adjust, white balance, genlock phasing control. Intercom, two video outs, genlock loop-through, line-view auxillary video loop through, and camera power supply.|
|2||30 foot / 10 metre, 14-pin camera cables.|
|1||100 foot / 40 metre, 14-pin camera cable.|
|2||Philips LDH1/LDK2 (aka LDK2) three-tube studio television cameras (1970s vintage). These are really only suitable for low budget community television productions, these days, or something deliberately needing vintage video equipment. Either with a lot of lighting, or for outdoor filming, though dealing with the extreme highlights from sunlight may be a problem. (Recently used in the “Oranges and Sunshine” feature film, for the television interview scene.)||$60/daily||29 Dec 2009|
|2||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).|
Heavy-weight wooden tripod, on a wheeled leg spreader, with ITE cam-based counter-balancing pan/tilt head. 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 (same dimensions as the old Vinten wedge plates).
NB: I only have one tripod for these cameras, we'd have to arrange another one (I do have a contact for this). The last couple of times we used both cameras on location, we borrowed a tripod from the ABC for some filming at one of the 1990s Adelaide Fringe Festivals, and used a couple of pedestals at the ABC for staging a scene in the film Oranges and Sunshine in the 2010s.
|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||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||1000–1250 watt Quartzcolor MiniIris 1 floodlights with fixed-position barndoors (28mm [1⅛″] spigot mount—can be unbolted for a thread mount). Mains powered. Wattage depends upon installed lamp.|
|4||500–1000 watt Gilkon floodlights with barndoors (3/8″ thread mount). Mains powered. Wattage depends upon installed lamp (currently, two of each, with no supplier for replacement 1000 watt lamps).|
|1||150 watt floodlight with barndoors (3/8″ thread mount). Mains powered. Wattage depends upon installed lamp.|
|2||Microphone floor stands with folding feet, removeable 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). Chrome.||$15/daily||05 Dec 2006|
|2||Microphone floor stands with folding feet, removeable telescopic boom. Black. Short stands as used for low-to-the-ground musical instruments, or unobtrusive floor stands next to people sitting in chairs.||$15/daily||05 Dec 2006|
|1||gooseneck section, with male and female microphone stand threads at each end, approx 30 cm in length.||Included with other gear, upon request|
|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. Transformer balanced outputs. Standard 3-pin XLR male plug in microphone body.||$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||Sennheiser ME80 electret condenser microphone, shotgun pick-up pattern, internal battery or phantom powered, no foam windguard or windcage. Transformer balanced output. Standard 3-pin XLR male plug in microphone body. (May be able to find a foam windguard to fit it.)||$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). Electret microphone hard wired to the transmitter. The receiver has a mono earphone output socket (with volume control), and a fixed level unbalanced output wired to a 3-pin XLR pigtail lead. Velcro on receiver, for attaching to camera.||$20/daily||05 Dec 2006|
|3||Hand-held dynamic capsule microphones. Balanced outputs using standard 3-pin XLR connectors in the body.||Included with other gear, upon request|
|3||Electret condenser microphones. Powered from single AA cells. Fixed low-frequency roll-off means they're only best suited for voice work, not music recording. Un-balanced outputs, but using standard 3-pin XLR connectors on a short pigtail lead.||Included with other gear, upon request|
|many||Various long and short XLR audio leads.||Included with other gear, upon request|
|2||50 metre audio multicores
with breakout boxes at each end, with:
two balanced audio lines using 3-pin XLRs,
two unbalanced lines with 6·35 mm TS connectors,
two unbalanced lines through a stereo 6·35 mm TRS connector (for headphones),
two unbalanced lines through 4-pin XLRs (for intercom),
two wires through a 3·5 mm TS jack for signalling (tally/cue light, call switch, earphone).
|Included with other gear, upon request|
|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 mechanical head shift, 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||Philips DVDR 3460 DVD recorder||$60/daily||14 Jul 2008|
|1||Sony RDR-HXD890 HDD+DVD recorder||$60/daily||04 May 2009|
|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 or line inputs (XLR and 6·35 mm TRS, respectively), 2 (main/stereo) balanced outputs (XLR and parallel 6·35 mm TRS), two balanced auxillary sends and receives (6·5 mm TRS)||Included with edit suite|
|1||Yamaha MC802 audio mixer with 8 balanced inputs (XLR & 6·35 mm TRS), 2 (main/stereo) balanced outputs (XLR), several (6·35 mm TS) unbalanced auxillary sends and receives||$60/daily||05 Dec 2006|
|1||Yamaha MG 12/4 audio mixer with 4 balanced microphone XLR or mono line TRS inputs, 2 balanced microphone XLR or stereo line TRS inputs, 2 stereo balanced TRS or unbalanced RCA line inputs, 2 impedance balanced TRS group outputs, 2 unbalanced pre-master-fader record RCA outputs, 2 stereo balanced XLR or TRS line outputs.||$60/daily||15 Feb 2011|
|1||Soundcraft Spirit Folio 12/2 audio mixer with 8 balanced microphone XLR or mono line TRS inputs, 2 balanced stereo line TRS inputs, 2 ground-sense balanced stereo line TRS outputs||$60/daily||15 Feb 2011|
|1||JVC KM-2000 analogue composite video mixer, with 8 main video inputs, 3 main video outputs, genlockable or internal SPG, 2 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||JVC KM-3000 analogue component video mixer, 8 component inputs (3 inputs can be switched to RGB input), 4 key inputs, component outputs, composite outputs, Y/C output, tally outputs, chromakey, lumakey, downstream key. All inputs are required to be synchronous, the mixer can genlock to a composite video source.|
|1||Sony SEG-2000P analogue composite video mixer, with 6 main video inputs, 3 main video outputs, 2 preview video outputs, genlockable or internal SPG, 4 blackburst outputs, three program buses (one upstream mix/effects, one downstream mix) and one preview bus, upstream lumakeying, downstream title keyer, all mixable inputs require synchronous (genlocked) video sources. Mixer can be mains powered, or from 12 volt DC.||$90/daily||29 Dec 2009|
|1||Panasonic WJ-4600 analogue composite video mixer, with 6 video inputs, 1 upstream key input, 1 downstream superimposer, tally outputs, 2 program outputs, 1 preview output, 1 effect preview output, 3 blackburst outputs, separate sync outputs (one each of horizontal, vertical, composite, blanking, PAL pulse, burst gate, subcarrier). All inputs are required to be synchronous, the mixer can genlock to a composite video source. Mixer can be mains powered, or from 12 volt DC.|
|1||Panasonic WJ-MX50 digital video mixer, with a very basic audio mixer, this is industrial/prosumer equipment. Accepts four non-synchronous composite video or S-Video inputs, for switching, mixing, and various digital effects. Has no tally outputs.||$90/daily||15 Feb 2011|
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 CRT video monitors, 34 cm, underscanning, composite or Y/C video inputs||$15/daily||05 Dec 2006|
Colour CRT 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 CRT video monitors, less than 34 cm, underscanning, composite video only||$5/daily||05 Dec 2006|
|3||Colour CRT video monitors, 9 inch, underscanning, blue-only mode, cross-pulse, external sync, tally lights, composite video only|
|4||Monochrome CRT video monitors, 9 inch, underscanning, tally lights, composite video only|
|3||50 metre general purpose
multicore camera cables,with:
two video lines (BNC connectors),
an unbalanced line (6·35 mm TRS connector, used as a tally line),
one spare unbalanced line (6·35 mm TRS connector, used for line view),
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 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.