Video & Audio Gear Rentals

Last revised 6/24/2015

                                 SOME RENTALS AVAILABLE

Don’t need high-definition gear? We offer only the best in standard definition NTSC camera equipment. Don’t need camera gear? We have the best in professional audio gear. Students, professionals and visiting filmmakers to the Philippines can avail of Okara Video’s production equipment. In some instances, a production-knowledgeable caretaker will accompany this equipment (especially cameras) to production locations for 2,000 PHP/day. The availability of the caretaker, however, will be determined on a case-by-case basis. Limited post-production services include video and audio editing, optical output to DVD, and videotape output to DV, S-VHS or regular VHS. Free embroidered baseball cap (lower right) comes with any camera rental, otherwise available for 400 PHP.



Minimum equipment rental charge per day is 1,500 PHP for Metro Manila
area, 3,000 PHP for outside of Metro Manila.
Tel. 63-2-554-0601
Cell 63-918-925-1507

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Production Equipment


Day Rates

Weekly Rates


Canon XL-1S DV camcorder (NTSC): Features three 1/3” CCDs, manual audio recording levels, manual or auto exposures, time-lapse photography, interchangeable lenses, can synchronize with computer screens (no roll bars), 16X standard lens, attached stereo microphone. This camera records only standard definition video, and outputs via “Firewire”, S-Video or Composite Video. For HDV or full HD video, look for other vendors here in Metro Manila. Operator’s Manual available on request.

Php 2,250



Canon 3X wide-angle zoom lens for the XL-1S DV camera. Provides the widest angle coverage among DV cameras, and is still prized by videographers working in the standard definition format.




Canon 1.5 Extender Lens for the XL-1S camera above. This lens offers an additional 1.6 X telephoto capability, and is placed between the standard and wide-angle lenses above. Free with the XL-1S rental.




The Panasonic AY-DV63PQUS Mini DV Pro Cassette uses AME (Advanced Magnetic Evaporation) technology to provide high signal output and consistent durability and reliability in a recordable videocassette. Sourced from B&H Photo Video, New York, this tape  offers the best in image quality.

200 Each
(5 pieces or more available at 150 each)



We have a specialized camera filter called a circular polarizer. This 72 mm filter will darken blue skies and eliminate reflections from glass and water surfaces, to name just a few. Works with XL-1S only.

No charge with camera rental, otherwise, 400

No charge with camera rental, otherwise, 2000


Manfrotto tripod and a Bogen 501 fluid head with detachable camera plate. The tripod legs have spiked feet for rough terrains, rubber boots for interiors and tripod leg spreaders. Fluid head has a gimbaled base to allow leveling camera in any  environment. Adjustable aluminum tripod legs lock rock-solid. Last but not least are the silky panning and tilting movements only fluid heads can provide.




Birns and Sawyer production slate, otherwise referred to as a “clapper”¯. Features a dry-eraseable white board for shot information. A must-have item even in this digital age. This a no-frills slate that is extremely legible, and boasts of a color scale clapper for evaluation of the color fidelity your camera is recording. This slate is also important for syncing up multiple cameras on a shoot. Dry-erase markers supplied.




JVC-TM910SU Color Field Monitor: This CRT (Cathode Ray Tube) monitor is 9 inches diagonally, and  boasts of many professional features such as 4:3 or 16:9 display, calibration tools such as blue check, pulse cross and color off, plus underscan, composite and S-Video (Y/C) inputs and outputs, plus 12 volt DC operation. One caveat: It’s a 120 volt AC-only device and requires a small step-down transformer for use in the Philippines.




Sony GV-D1000 Walkman Video Recorder performs a multitude of tasks relating to the MiniDV tape format. As a VCR, it can function both in the studio and all day on battery power in the field. Most importantly, this versatile deck supports Firewire input/output as well as S-Video and RCA inputs for composite video and audio. In the field, it can serve as a back-up recorder and field  monitor for your camera which also records video onto its own tape. In the studio, it performs as a feeder deck for inputing video into non-linear video editing software like Final Cut Pro.




Omnicron 12 volt, 14 amp lead-acid battery belt that is rechargeable without memory effects. This battery is powerful enough to power several devices simultaneously, like the XL-1S camera and the ATW-U101 wireless receiver (see below). The belt employs both CIG and XLR4 type jacks. It has a shoulder harness that makes wearing  the belt comfortable. Although it’s a behemoth belt, nothing beats a long-lasting battery for your production when time and money are in short supply. Charger uses 120 v AC power. Step-down transformer supplied.




Audio-Technica AT 4073a Short Condenser Shotgun microphone: This mic requires 48-volt phantom powering (supplied with the mic). The advantage of this microphone is its long-reach of 1-2 meters over actors’ heads. Best for use attached to a micrphone boom for interior locations, but it will work well outdoors with a windscreen attached (not supplied).





K-Tek KE-79 Mic Boom Pole: A total of 6 aluminum sections telescope between 1.8 - 6.7 ft. (0.54 - 2.04 m) and will easily store in any standard equipment case. As an  aluminum pole, it is significantly more quiet compared with carbon fiber poles that can conduct handling noises. Metal poles also don’t bend as much as carbon fiber poles due the weight of the microphone.





Audio-Technica’s AT 8415 Universal Shockmount is the most popular shockmount in use today. It holds any shotgun mic securely without generating unnecessary noise. Available with or without the mic boom described above.



(Free with Mic Boom rental)



Sign Video XLR-PRO adapter box features switchable XLR mic/line level inputs. This device connects to the DSLR or camcorder via a mini stereo plug since many cams do not have XLR connectors except broadcast quality gear. In stereo mode, this interface can record two separate XLR mic inputs to two camcorder tracks or in mono mode it can record one XLR input onto both camcorder tracks. Device also boasts of a ground adjust switch to eliminate ground noise that sometimes occurs with different cameras.



(Free with any camera rental)


             Not AvailableSonyHeadphones8302

Sony MDR-7506 Professional Studio Headphones: Designed for DJs and general audio production. Either ear phone is able to swival 90 degrees horizontally in order to free up the other ear so you can hear what your director is telling you. Their frequency response is from 10 Hz to 20KHz. These are the best phones you’re likely to use on any production.


(Free with any camera rental)



ATW-U101 Professional UHF diversity wireless mic system: Features a body pack transmitter (left) and a receiver. This great mic system offers 100 user-selectable channels. Supplied with this system is a lavalier or lapel microphone with a TA3F connector, and if you want to patch your transmitter into a mixing board, we supply mic and line level XLR adapters. For the receiver, we also can supply you with 220 volt AC powering, 9-volt non-rechargeable or powering via the Omnicron battery belt described above.





Sennheiser E-825 dynamic microphone: Using a wider cardiod pick up pattern (as opposed to that of shotguns), this mic is great for hand-held uses such as announcing and singing. It also requires no batteries for use.




Microphone Stand:  If you’re short a boom person, this microphone stand might be your solution, especially for long interviews where a boom man/woman may tire of holding a microphone, boom with mic OR where the subject is moving frequently thus requiring the boom operator to constantly follow the subject. This stand telescopes quite high and can be set at almost all angles. It’s a solid performer if a stable microphone stand is what is required.




The CT100 accepts every type of cable you might use in a recording or live  performance situation: XLR, mono and TRS phone (1/4",1/8", TT), RCA and even MIDI. Choose from three modes: cable test mode, installed CABLE TESTER mode and TONE mode. The CT100 can check for continuity, intermittency, phantom power presence and grounded shields. Because this handy tool runs on two AA batteries, you can carry it in your pocket  and be ready to troubleshoot at a moment's notice.




Motorola Walkie-Talkies: With up to a 2-mile (3.2 Km) range under unobstructed conditions, and 14-channels to choose from, this pair of devices is indispensible for production communications. Supplied with 3 AA batteries each unit.




StatPower PW 150 Voltage Inverter: This device can be handy if you need to power a 120 volt AC device (drawing a maximum of 150 watts) from a 12 volt DC power source such as the above-mentioned battery belt. Of course, the higher the amperage of the 12 volt DC source, the better the inverter will perform.




Denon DRM555P audio cassette deck: Great for post-production when you have to digitize audio material recorded on cassettes. Also good for creating audio CDs as well.

300 / hour


     VHS Deck to be replaced.

To be named: VHS Recorder: Surprisingly, there is still a lot of important material around on VHS cassettes. This material can be easily digitized from this deck.

300 / Hour



Rosco Cinegels: Okara Video has a collection of lighting gels for almost every need of  the videographer from light conversion (converting from Daylight to Tungsten or vice-versa), neutral density gels to reduce light intensity, and diffusion media to soften hard light or specular light sources.



Luminaires: Open-face Quartz-Halogens: Two 500 watt and one 1,000 watt units from Ace or Handyman hardware stores. One collapsible, two-sided shadow-filling reflector, silver and gold textured surfaces.

Although these hardware store-quality luminaires are primitive compared with professional tungsten-halogen lamps, these cheap lights are more than adequate for small productions. Their color temperature is around 3200° Kelvin and is compatible with the tungsten settings of most camcorders. If the filmmaker desires luminaires of a professional grade, they can be rented from other vendors.

Php 1,130 for all three units, otherwise  650 per the 500-watt units and
800 for 1,000 watt unit.


Miscellaneous Supplies: Professional gaffers tape, AC extension cords, black wrap, wooden clothes pins for  diffusion media, camera head-cleaning tapes, rechargeable 9-volt batteries for wireless gear, extra pairs of headphones and cables.

We supply professional gaffers tape free of charge. This is not the cheap, plastic stuff usually found in hardware stores. Aside from this, we have thought deeply about all the things filmmakers need while on the set and have done our best to anticipate most requirements of video  production.

No Charge with
1-day’s camera rental or greater.

No Charge with
a weekly rental or greater.


Equipment truck: Good for all kinds of gear that can be transported effortlessly.

No Charge with
1-day’s camera rental or total rental amounting to 2,500 or greater.

No Charge with
a weekly rental or total rental amounting to 12,000 or greater.


MITS Pajero available for rental.

4-wheel drive SUV with driver



                         WATT’S UP WITH YOUR LOCATION’S POWER?

                     Primer on assessing your electric power needs when
                                             using lights for your shoot

Lights used in video production require sufficient electric power to illuminate them: Typical non-professional luminaires like what Okara Video rents, which are either 500 watt or 1,000 watt open face units. There are even 2,000 watt units available in larger hardware stores like HandyMan or Ace Hardware. If they have glass in them for outdoor use, remove the glass or the lamps may overheat.

In order to use one or more of these units, you must understand the capacity of the electrical circuits you’re plugging into. If you examine the circuit breaker box on your location, you will see circuits rated according the number of Amperes they have, e.g., 15, 20 or 30 AMPS.

The other thing you need to know is what is the voltage of the circuits you plan to use? Nowadays, power in the Philippines is 220-230 volts. Historically, there were a lot of 110 volt circuits in older buildings or homes, but no more.

Step 1: Identify the exact electrical circuit(s) you will use for your lights, noting what their AMPERAGE is. Hint, the higher the amperage, the greater capacity in terms of WATTS of that circuit. Why? Ohm’s Law: Volts X Amps = Watts, e.g., 220 volts X 20 amps = 4,400 Watts capacity. The caveat is that you have to know what other electrical appliances are using that circuit and how many watts they are rated for. So, if you’re planning to use your 1,000 watt lamp and a 500 watt unit on the same circuit, their combined wattage will total 1,500 watts. But upon inspection of several appliances already using that circuit totaling 3,000 watts, e.g. 4,400 circuit capacity in WATTS minus 3,000 watts of existing appliances, this leaves you with an available capacity of 1,400 watts, insufficient for your two units (1,500 watts). So, if you plug in your lamps, you will overload the circuit and trip the circuit breaker to the OFF position or blow the fuses which must be replaced.

Step 2: What to do in this situation? If you must use your 1,000 and 500 watt lamps, you will have to unplug one of the existing appliances on the circuit you’re using. But sometimes, none of these appliances can be turned off, so this forces you to either (1) give up your lower wattage lamp (500) or (2) plug your 500 watt unit into another circuit that has available unused capacity.

Step 3: How to identify which circuit breaker corresponds to the wall outlets or plug receptacles? Through a trial and error process requiring two persons, one person is at the circuit breaker box to switch on and off circuit breaker switches while the second person looks to see which outlets go on and off, usually with a small lamp attached to easily detect the circuit’s condition, either on or off.

                          Collis Davis


FINE PRINT: No equipment will normally be rented the same day it is reserved. However, if the equipment is prepped and ready to be released, published charges will be doubled. Ideally, reservations should be made at least 48 hours prior to the production date. Last-minute requests almost always result in a failure to secure the equipment needed.

On reserving dates for your equipment rentals, no reservations can be confirmed without a 20% cash deposit.  In the event a customer cancels their reservation within less than 24 hours of start date, the 20% deposit will be forfeited. Customers must also pay a 30% additional amount to start the rental, with the balance of 50% made payable upon completion of the rental period.
If a caretaker is not required, a suitable ID such as a current driver’s license, student I.D. or passport must be surrendered as collateral for any potential equipment losses or theft.

Out-of-town terms: Travel expenses of a caretaker must be borne by the client, including necessary airline reservations, including baggage fees, accommodations and food (applies to camera rentals only) for the duration of the shoot.

Video and Audio Package Deals

#1 Production CameraPackage   6,000/Day, 30,000/week

  • XL-1S Camera, Sign Video XLR-PRO adapter box & Sony Headphones
  • 3X Wide Angle Lens
  • Manfrotto tripod and a Bogen 501 fluid head
  • Slate
  • JVC-TM910SU Color Field Monitor
  • Omnicron 12 volt, 14 amp lead-acid battery belt
  • Audio-Technica AT 4073a Short Condenser Shotgun microphone
  • K-Tek KE-79 Mic Boom Pole & Audio-Technica’s AT 8415 Universal Shockmount
  • ATW-U101 Professional UHF diversity wireless mic system
  • Rosco Cinegels
  • Luminaires set
  • Miscellaneous Supplies
  • #2 Production Camera Package   4,500/Day, 22,500/week
    • XL-1S Camera,  Sign Video XLR-PRO adapter box & Sony Headphones
    • 3X Wide Angle Lens
    • Manfrotto tripod and a Bogen 501 fluid head
    • Slate
    • JVC-TM910SU Color Field Monitor
    • Omnicron 12 volt, 14 amp lead-acid battery belt
    • StatPower PW 150 Voltage Inverter
    • Rosco Cinegels
    • Miscellaneous Supplies
  • #3 Production Audio-only Package   2,400 /Day, 12,150 /week
    • Sign Video XLR-PRO adapter box & Sony Headphones
    • Omnicron 12 volt, 14 amp lead-acid battery belt
    • Audio-Technica AT 4073a Short Condenser Shotgun microphone
    • K-Tek KE-79 Mic Boom Pole & Audio-Technicaā€™s AT 8415 Universal Shockmount
    • ATW-U101 Professional UHF diversity wireless mic system, includes lavalier microphone
    • Sennheiser E-825 dynamic microphone
    • 2nd Lavalier Microphone plus powering module (wired)
    • Miscellaneous Supplies
  • Editing services below are now available at this time.

    Editing Rates utilizing Macintosh-based Final Cut Pro editing software
    • Digitizing MiniDV video tapes  375/hour
    • Editing (labor charge) 697/hour
  • #1 Editing Package   50 Hours (includes 8 hrs digitizting + 40 hrs editing) Php 30,000
  •    #2 Editing Package   75 Hours (includes 12 hrs digitizing + 63 hrs editing)  41,250

       #3 Editing Package   100 Hours (includes 16 hrs digitizing + 84 hrs editing) 56,250

    DVD Design & Output Rates utilizing DVD Studio Pro (DVD-5 single layer only)

    • Menu & Interactivity design  697/hour
    • DVD Output (includes 8-10 hour encoding and burn)  225/hour for first DVD disc
    • Additional discs at 1/2 hour each at 150 /disc
    • DVD label Design and printing 1,000 for the first disc, 200 each for additional discs with a label
  • #1 Single-Level Menu Package (includes 3-hrs for menu & label design)  4,500
  •    #2 Two-level Menu Package (includes 6-hours for menu & label design) 6,750


    © 2005-2018 Collis H. Davis, Jr.
    All rights reserved.