Lowest cost HD Broadcast quality Camera?

[Al Bergstein]

Thanks. I can’t answer the questions on cost. That is a local issue you need to investigate. How many interviews are you going to do? Where are you located? where will the interviews be located? Depending on exactly what you are trying to achieve, and how many locations, etc you are liable to be all over the map. I guess we have no idea of your budget, so that limits the discussion, eh? And you said you were going to shoot in a professional studio but without their gear and people. Why not ask them for a quote? It’s a good starting place!

As to what to ask, just be very clear about what you need, and any good video producer or cameraman should be able to ask questions specific to your project. You should have either a script, or an outline of what you are looking to achieve. There are more details on this at various web sites. Try Google. (not being flip, but the questions you ask are pretty large to answer in a forum like this.

Expect to deposit perhaps a 3rd or half down in advance in good faith, since you apparently don’t have a track record with these folks.

Lighting is also another possible cost. So is traveling with a person who knows how to get quality sound. That’s not trivial. If you video tape something and blow the sound, you are back at square one.

Anyway, best of luck.

Alf

[Thomas Miller]

Eric, sounds like a very good decision! I have a pretty good handle on rates for professional crews – as that is exactly what we do. My best recommendation for what you are looking for is to ask for a 2-person crew (DP and audio person) shooting on P2HD or SxS. You are looking for an HPX170, or HVX200, or HPX300/370 package. Or on the Sony side maybe an EX1 or EX3. You don’t need to get in the world of HDX900 or Varicams for what you are trying to do. But many of those that own the higher end cameras, also own these smaller ones. These will in most cases be your best crews. Lean towards the broadcast TV crews that also do corporate productions, rather than the wedding videographer side. But this is a broad recommendation, as local markets may vary in terms of skill sets.

Expect to pay $1350-$1650 for a 2-person P2HD or SxS Crew for a full day rate (8 to 12 hours or less). Some crews will also do half day rates (5 hours or less portal to portal0 for about 2/3 of the full day rate. So that range is $900-$1100.

For one man bands, you are looking at less of course, but I think a 2-person crew would be appropriate if you have the budget for it.

By the way, these rates should include everything, lighting, and all. You might need to send them a drive for the footage download, or fly out with one.

As I mentioned before, often times the best crews can also serve as a field producer roll if you don’t want to or can’t make it to the location. We do that all the time.

As far as finding crews, check out ProductionHub.com, or Mandy.com, where you can search by location. Be wary of just googling, as some who are masters of making themselves show up on Google are not necessarily the greatest talent. Every state also has a local film commission with local crew listed in a production guide. Check out their credits and reels.

Another excellent way to go is to employ the services of an agency like Crews Control, or Crew Connection. You explain to them just once what you need, they will help you refine it, and then they will find the best professional crews for you at each location. They take their cut from us, not from you, so it costs you nothing. Call Cricket at Crews Control and tell her I sent you – (800) 545-2739.

Hope this helps, and let me know if you make it out to Colorado!

Tom Miller
Big Pictures Media
Denver, Colorado

http://www.BigPicturesMedia.com

[Linda Johnson-bell]

Eric, I have just come across this thread in my search, also, for a low-cost broadcast quality (50 Bp/s) camcorder…it is 2014, so four years later, but I hope that you ignored all of the negative gits who responded to your request and just went ahead and went for it! All the best indie film-makers / documentary-makers, are “one-men-bands” …Don’t ever let someone tell you that you cannot or should not give it a go.. It is not rocket-science and, the only way you will improve, is by diving in and doing it. I hoe your project was successful.

[Dominic Owens]

You have a lot of guys on here who are giving you information that
1. Your not going to understand
2. Isnt of use in this situation
3. Doesnt answer the question asked.

When looking for a camera that is broadcast ready you need to have information on the standards that your post production or final product is going to have to match up to. When it comes to regular definition and HD quality cameras your lower end is obviously the lower definition. How ever once you put forth money into a durable HD camera you now have access to a marketing tool not many consider as well.

You are shooting interviews which isnt very complex but still complex enough that a camcorder isnt going to cut it. Most of the interviews my company does in terms of sports, and music festivals we tend to use a medium sized production grade sony P2 with a ribbon mic NOT a Lavalier.

You are looking to save money and i get that. However your budget is too low for what your specifications are. You need to go up to about $4,000 you want a camera with HD capability, find out what ratios your production company prefers in post. This include bit rates and sample rates for audio aswell. If you go to the right supplier some P2 cameras come with a built in mic ussualy its a standard condensor mic. However if you want good quality shots you also want good quality audio so purchasing a lapell mic which are also condensors is your best bet.

What you buy will be based of of what the production company can work with in terms of compatability. Most production grade cameras dont record on an inclosed hard drive most are relayed through to a P2 recorder or AJA system.

Find out what the company uses in terms of outboard gear auch as
– recorders and designated drives
– editing programs ( some can allow you more leniance with lower end cameras )
– prefered bit rate and sample rate
– quality preferences and standards for the production companies affiliated partners.

Out here in Canada the CRTC standards are that audio levels have to be consistant, eith minimal interuption and should not go above -18 DB
In terms of visual comtent it is more leniant however as long as the aspect ratio and fram rates are met you shouldnt have a problem.

Your main issue is deciding who will be airing it and then finding out what their standards are from there you can figure out your budget.

Sincerely:

Dominic Owens

Freelance Talent/Media/Business management specialist

Pro Audio Engineer/Producer – TVCOGECO

DominicOwens@outlook.com
613-483-6516

170 colbourn St
Kingston, Ontario, CA
K7L-5M7

https://www.tvcogeco.com