How do you budget for lighting gear and crew?

When budgeting for lighting gear and crew, it is crucial to assess your needs accurately. This involves determining the specific lighting requirements for your project and estimating the crew size necessary to achieve your desired outcome. According to industry standards, lighting expenses typically account for around 5-10% of the total film budget. In addition, hiring experienced lighting technicians can cost anywhere from $500 to $2000 per day, depending on their expertise. By assessing your needs and considering factors such as location, equipment rental, and crew experience, you can develop a comprehensive budget that covers all lighting-related expenses effectively.

In my experience - hire a gaffer that has the lighting kit already packed in the van and add that to your budget as a line item. Done.

Budgeting for light most is dependant on environment and time of day. Some projects require a scouting visit firts before a budget can be made because of the different irregularities that may happen and cause use you to under budge or over. In my view a scout visit is necessary to make that decision but also having extra equip never hurts.

Planning production budgets with limited funds takes focus - like packing light for carry-on only travel. Rent not buy gear, negotiating multi-shoot deals. Research deals on rental houses, permits, insurance. Get scrappy on smaller items to allocate for priorities. Schedule tightly around crew minimums. With selectivity, your micro-budget shoots look legit. Now grab essentials only - it's time to travel video production first class on a coach ticket! ✈️

Visitas técnicas as locações são de suma importância. Você pode avaliar se usará as tomadas existentes ou se precisará de um gerador. Em locações ao ar livre pode saber em que posição estará o sol em determinado horário e assim que tipo de rebatedores, filtros, etc você precisará. A abertura das lentes também ajudam muito para saber que tipo de refletores solicitar. Lentes mais "fechadas" necessitam de mais luz, enquanto que as mais "abertas" necessitam menos.

The great thing about lighting gear is that it has a long shelf life and the technology doesn't advance as quickly as cameras do. If you do invest in the gear because your work warrants it, know that it will last you for several years. Having worked in a Rental House however, I am very pro-renting. If the equipment you need for your project is specialized gear, or your video projects are infrequent in nature, your company would save money by renting. An insider tip, always ask Rental Houses for a discount! I'd recommend working with a professional with less lighting gear over working with an amateur with a ton of gear. Professionals know how to shape light and can do more with less, and their efficiency will save you more in the long run.

It is always nice to at least own a small 3-piece kit for interviews and short-notice shoots but do not feel like you have to purchase a lot of gear immediately look how much rentals are and bill it back to the client.

I completely agree with your perspective on the longevity and resilience of lighting gear. It's true; while camera technology sees frequent advancements, good lighting equipment remains reliable and can last years. Renting, as you mentioned, can be a savvy choice, especially for infrequent or specialized projects. Thanks for the tip about asking Rental Houses for a discount — it's always great to have insider advice! Your point about the value of expertise over equipment quantity resonates deeply. It underscores the importance of craftsmanship and knowledge in the field. A seasoned professional's ability to harness and manipulate even limited gear can far surpass an amateur's efforts with a plethora of tools.

If you travel a lot for filming it makes more sense to rent lighting gear but if you have a local production company or a studio it makes more sense to have your own lighting gear as it saves you also a lot of time. There are situation where you need extremly powerful lights like Arri M40, M90 or even 12/18, here it makes more sense to rent them because they're heavy, very big and very expensive compared to the rental fee. And you need at least 2 or 3 people to handle them properly and use them on a crane. Nowadays LED lights are very powerful and less expensive while still offering a high quality light. At makes sense to have at least 2 power LEDs like the LS600/1200 and a few smaller pieces for interviews including diffusors and flags.

Do some research on the price of buying or renting the necessary lighting equipment to determine which option is well suited to your budget plan and in general your intended objective . It wouldn't hurt to seek advice from seasoned filmmakers for recommendations, browse online markets, or get in touch with equipment rental companies. Think about your needs for new or used equipment and whether you want to buy it or rent it.

Spreadsheets are great - but I always like to add another column to the budget - the actual cost. This way I can check how on target the budget was after production and use this as a reference for future projects to more accurately budget.

Absolutely, that's a fantastic approach! Adding an "actual cost" column not only allows for post-production accountability but also serves as a learning tool for future budgeting. By comparing the projected costs with the actuals, you get a clearer picture of where estimations were accurate and where they deviated. This insight is invaluable for refining budgeting skills over time and ensuring more accurate forecasts in subsequent projects. It's always wise to have data-driven references that can guide and inform future decisions, and your method certainly facilitates that.

To budget for lighting gear and crew, identify your project's requirements, consider the equipment needed, determine crew size, and get quotes from suppliers and crew members. Factor in pre-production planning, production days, and post-production needs when estimating costs.

You can do a lot with a 3 light setup...or even 1 light if you get creative with reflectors and negative fill. There are also a lot of great DIY fixtures you can assemble with a few parts from a hardware store. Though because of the ban on tungsten lighting, this has gotten a bit trickier. Store-bought LED bulbs are not as color-accurate as professional ones from Aputure, but it's still a good way to save money depending on the shoot.

I would never sacrificing the quality of light but you can always make great deals with rental companies especially when you go there more often. Another way is to combine forces, ask other filmmakers you work with on a project if they can also bring there gear. Camera sensors nowadays are so much more light efficient that you can use less powerful lights and still have a clean picture. Try to find used gear on several platforms as you'll always find people who want to sell there gear.

Prioritizing what is truly necessary for the task will be greatly aided by creating a thorough list of all the lighting equipment you'll need. Lighting fixtures (such as LED panels, tungsten lights, HMI lights, and fluorescent lights), grip tools (such as C-stands, light stands, and sandbags), lighting modifiers (such as softboxes, gels, and diffusion), and power distribution tools can all fall under this category.

Always test and troubleshoot your equipment ahead of time. This will save you time, money, and headaches as you head into production. Make sure the lights turn on, all batteries are charged, and you have everything you need. Always review the 'run-of-show' with your lighting technician so you are on the same page. I operate under the mantra, "if it can go wrong, it will!" Anticipate that things can go wrong, and plan accordingly. Checking the gear ahead of time and making contingency plans with your crew will ensure your project's success.

A crucial step in the production process is testing and reviewing your lighting equipment and filming crew before beginning the actual objective. By doing this, you can make sure you're well-prepared and can spot and fix any problems or flaws before they affect the actual shoot. Before the actual filming or shoot, a checklist of tasks is helpful. For example, make sure everyone on your filming crew is familiar with the equipment by conducting camera and equipment checks. Check the functionality of each piece of equipment, including the lights, bulbs, and modifiers.

To ensure a smooth production, document all your testing processes and results. Create a checklist for equipment and personnel to track their performance and any issues encountered. For lighting gear, note any adjustments needed or recurring problems. Similarly, record crew responses and their adaptability to different scenarios. Use this documentation to refine your setup and training for future shoots. Maintain an updated log of your budgetary adjustments and their impact on the overall project. Review these logs to identify patterns or recurring issues affecting your budget or project timeline. This proactive approach helps you make informed decisions and improves the efficiency of your future shoots.

Even the pros are always experimenting and learning. American Cinematographer magazine had a two-part experiment to see what diffusion material produced the best soft light. The winner? A shower curtain.

Regularly review your past projects to identify areas where you can optimize costs or enhance outcomes. Seek feedback from peers and clients to pinpoint effective strategies or areas needing improvement. Engage with industry experts through workshops or online forums to stay updated on new techniques and trends. Additionally, experiment with different lighting setups and budget approaches to find what works best for your needs. Tracking and analyzing your progress will help refine your approach and achieve better results in future projects. You can continually improve your lighting budget management and overall videography skills by remaining open to new ideas and actively applying lessons learned.

When budgeting, make sure to add a contingency buffer of at least $250. If and when things don't go as planned, it is important to have the buffer available to prevent going over-budget. Something that often gets overlooked is insurance. Depending on where your equipment is coming from, everyone from freelancers to Rental Houses will require equipment insurance. Anticipate around $100-300 for this line item.

Obtaining mutiple estimates from vendors is a good idea when renting or buying lighting equipment. This can assist you in locating the best offers and negotiating price reductions.