Archived posting to the Leica Users Group, 1999/11/16
[Author Prev] [Author Next] [Thread Prev] [Thread Next] [Author Index] [Topic Index] [Home] [Search]Dan C. Yes a drop in the bucket. But, when you consider that the cost of sync sound (silent, 19db) ARRI 35 camera packages (a package will have a set of Zeiss primes and a zoom or two plus 4 magazines, studio rig, follow focus, etc, etc) now-a-days are about $500,000 hardly anybody buys cameras anymore, they rent them for over $5,000 a-day and most features will have a B-camera plus a MOS (too noisy to be used for sound recording) camera. When you consider that the average shooting time for a feature is at least 60 days, these daily cameras rentals add up. On the 16 mm front, camera packages (ARRI or Aaton) really are in the $150,000 range which will include Zeiss, Cook or Cannon zoom at about $20,000 plus the set of Zeiss Super Speeds. But when you consider that a shooter for Discovery or National Geographic will add $1,000 to $1,500 a day to the budget it starts to become a profit center for a DP who owns one of these. Steve Annapolis - ---------- >From: Dan Cardish <dcardish@microtec.net> >To: leica-users@mejac.palo-alto.ca.us >Subject: Re: [Leica] classical >Date: Tue, Nov 16, 1999, 12:33 AM > >Yes, but consider the cost of the movie camera compared with the overall >cost of the entire film that those cameras are intended for. Probably a >drop in the bucket. > >Dan C. > >At 08:53 PM 15-11-99 -0400, Steve LeHuray wrote: >> >>Four years ago ARRI USA loaned me (they owed me a favor) a new Arriflex SR3 >>16mm camera package for 1 month for a low-budget feature film. The only >>thing that I had to do was provide the insurance to cover the loss of the >>camera. The insurance value needed was $143,000. >[snip] > >NO ARCHIVE > > > >