16mm in the $500 to $700

[Matthew W. Phillips]

If you want to move up to purchasing a synch-sound camera, I think it's worth jumping up the cost scale to an Arri SR2 or 3 or an Aaton, especially now that they're getting cheaper.

 

When you say Aaton, are you referring to the XTR or the A-Minima? Because if you mean the XTR, I gotta tell you mate, that is just way out of the budget of ultra-low budget filmmakers. Actually, the SR3 is as well, even nowadays.

 

I love film and shooting on it but its this sort of attitude about cost that is making film die and making cameras like the t2i and 5d MarkII take over the ultra low budget scene. And renting isnt an option for everyone either. I live in California but Im in the Northern part and I'm several hundred miles away from a rental house that carries that sort of gear.

[Dom Jaeger]

I love film and shooting on it but its this sort of attitude about cost that is making film die and making cameras like the t2i and 5d MarkII take over the ultra low budget scene. And renting isnt an option for everyone either.

 

Well Matthew I spend a great deal of my time trying to help keep film alive as a low budget option, whether its assisting film schools and servicing their film gear, or checking and repairing old film cameras and lenses very cheaply for students and amateurs. There's no money in it, but luckily the company I work for is passionate about film.

 

I actually think what's more likely to turn a low budget filmmaker off film is buying a clapped out camera kit for cheap, then spending hundreds of dollars on stock, processing and transfer only to find the images are soft or unsteady or scratched or fogged because the camera and/or lenses need a service. Then spending weeks trying to find a service agent, hundreds of dollars more on freight, service, possibly parts if they can find them, then more stock and processing before they can even see a result. Sometimes people don't even get that far - they don't actually realise something's wrong, they just think: "gee, film looks crap".

 

It's not my attitude, it's a physical reality that cameras (and lenses) are finely tuned machines that need regular maintenance to work properly. You can get lucky, and some cameras are inherently more reliable than others, but it should be factored in to any discussion about the cost of a film kit.

 

That's why I think Bolexes are a good low budget choice for 16mm. If you want to shoot synch sound of course there are ways to do it on a micro budget besides renting, if you're passionate and patient enough. But these days a serviced Super 16 Arri SR2 kit can be had for well under 10 grand - not much really to get to a professional grade, highly reliable sound camera, with far less headaches.

[Rick Cook]

The price range is not based on a budget I have been given, so of course I could spent a little over.

However, I am a poor college grad, whom is in the process of trying to find steady work. So I am taking a risk in spending this money anyways.

Keep in mind I'm shooting these films with a close friend, so the investment would be so we could have fun with 16mm, rather then shooting our ultra low budgets on a Dslr like the masses have.

I do agree though, that spending $700 on something almost professional isn't the best idea if I could find a deal on an Eclair or CP. I would obviously prefer something with glass included.

I am in no rush at the moment, so I will keep an eye out, and see where my situation takes me.

[Will Montgomery]

If would be nice to have a camera that would be "feature ready" so if the opportunity arose to be involved with one you could volunteer yourself and camera for a modest fee. Great way to break-in. Plus you'll gain invaluable experience just playing around with it and may add some nice shots to your demo reel.