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Freelance rates as a BMD shooter

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  • #46
    This has been very educational throughout the entire thread. Thanks to all for the contributions to the thread

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    • #47
      Originally posted by mjamerson View Post
      This has been very educational throughout the entire thread. Thanks to all for the contributions to the thread
      +1

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      • #48
        He lights and shoots. He does commercial work as well as what I mentioned earlier. I do not know how reality got into the convo. Its funny, when I was riding back with the two of them...they were talking about several shoots they did...President Bush, David Feherty, Jack Nicolas, Don Henley to name a few.

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        • #49
          Originally posted by imaj View Post
          He lights and shoots. He does commercial work as well as what I mentioned earlier. I do not know how reality got into the convo. Its funny, when I was riding back with the two of them...they were talking about several shoots they did...President Bush, David Feherty, Jack Nicolas, Don Henley to name a few.
          sorry, still sounds like reality(which is anything real, people being themselves,not just garbage shows) or interview type work, i dont know of any of those guys in a commercial or a film…so that's all we were saying, yes those type of shoots are mainly done with sonys, as are behind the scenes work. commercials, films, and most tv shows are shot with alexas, reds and phantoms. im sure he works though, there a lot of niches in the industry.

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          • #50
            snip
            Last edited by analog_addict; 12-06-2015, 03:54 PM.

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            • #51
              A local production company charges 4k for 2 hrs filming a university conference. I expect editing involved.

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              • #52
                Originally posted by haavard View Post
                There is no such thing as half a day..
                This a million times over.

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                • #53
                  Originally posted by kgimedia View Post
                  This a million times over.
                  hahaha yep! I took it off my rate sheet!

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                  • #54
                    Originally posted by JLdp View Post
                    raven shoots prores too! and raw if the client wants it, or both at the same time
                    you can be the 6th one on the island

                    Can not do 4K ProRes however! URSA Mini is still better for that kind of work.

                    Originally posted by Willian Aleman View Post
                    I live in NYC and I own a BMCC/MFT. Most of my work these days are as DIT. I can testify that the above quote is what I have seen in short film productions I have been working on with scripts between 10 to 15 pages. The production rents the equipment for the DP.
                    In these productions, about five in the last 9 months I haven't seen a Blackmagic camera. The cameras used are the Alexa XT, Red Epic or Dragon. All these productions have been short films in the range of $50 to US$70,000 budgets with an average shooting duration of 4 to 6 days.
                    It boggles my mind that there are so many short films with such "large" budgets, when there is no way short films can recoup that kind of money. (not like there is with features)

                    Where do they get the money from??
                    Last edited by IronFilm; 01-12-2016, 03:25 PM.
                    https://www.youtube.com/c/SoundSpeeding

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                    • #55
                      Originally posted by JLdp View Post
                      well its always knowing when to get in and when to get out of a system, at least the nice thing about red is their upgrade paths, you are never shit out of luck when the new camera comes out. i tried to do a whole production on a pocket once, i tried really hard, that was the night i decided to sell. but for me it was selling a whole set up 16mm super speeds, cage, monitors, the works…too much invested in such a low ball situation, which still might be right for some, so im not knocking it, but you know the pocket is dead when the micro comes out, then the micro will be dead when the micro MK2 4K comes out and so on...
                      The Red "upgrade" path is a whole lot of B*llsh*t really, the cost for it is so high you could just go out and buy a complete Sony FS7 or even F5 with ease! Then you'd be left with TWO cameras! And not just one "upgraded" one. And you'd have two different cameras able to cover two different kinds of jobs, without needing to rent in anything.

                      Originally posted by imaj View Post
                      I have to disagree. I work with a 30 year veteran DP. He only buys high end cameras. i.e. Sony F55. He says that is what separates him from the rest. That is the only way he can stay competitive. Just a quick note...I went on a shoot with him. (I was a PA.) He and the producer are good buds. Anyway, I asked the producer if he has shot BM cameras? He laughed in my face. Says, they are junk! Explained that he wants as close to a final image as possible. No color correcting! I said, would you hire me? He laughed! What if a had an FS700? Nope! Anything less than an F55 and you are out! Maybe an FS7 would work. I did not ask him that. Anyway...They work a lot with CBS and NBC sports! Lots of PGA golf and college football stuff.

                      It is very old school thinking, they haven't opened their mind to cheaper alternatives. But it works for them! Keeps them at a higher tier earning more, as that is how they project and market themselves.

                      Originally posted by JLdp View Post
                      then you can say my pkg is $1000, its a red, and if you feel like you want to give it for less then they will think they are getting a hell of a deal on a red. 10-12 rentals and its paid for.
                      It is not "paid for" after just a dozen jobs, out of that you still need to eat and cover your rent and other costs.

                      Instead you need to see how much extra you're getting for your RED over the alternative (FS7/F5/URSA/C300/whatever) and its cost. It might only be a few hundred extra relatively speaking, then it will end up taking you dozens of jobs to pay it off.
                      Last edited by IronFilm; 01-12-2016, 03:11 PM.
                      https://www.youtube.com/c/SoundSpeeding

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                      • #56
                        Unfortunately in France today, for the most part your day rate is as based on the camera you own. So if you own a RED you are competing at a different level than a BM owner. Most clients are quite aware of the camera being used on a set and if they are going to confer a serious money job to an owner operator they want someone working to that level. In the mid range budget, the RED operator is going to take the job over Sony, BM, etc. too. So this is probably the number 1 reason why people buy that camera today. From a marketing standpoint, this is absolutely RED's strategy as well. Coolness, buzz and a perception of quality are in constant play. The cost actually ADDS to the allure of the camera.

                        Frankly, I hate their macho marketing and I couldn't care less, but I am not my clients and what they want is what they get.
                        However, if they want quality I always insist on the Alexa. Why? Because I think it produces nicer skin tones, AND most importantly it is not an owner operator camera. Everyone expects to rent that camera. So I don't need to invest in an expensive RED system to compete. Anyone asks in terms of my previous footage? Shot on an Alexa. Is it true?

                        Hell no.

                        Just saved myself $50K.
                        Last edited by yoclay; 01-14-2016, 12:50 AM.
                        If I wanted my films to look like the real world I'd buy a video camera.

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                        • #57
                          It really matters who your clients are. If you don't have many clients yet, it matters who you want your clients to be. It's all true about clients being aware of what camera you have, and making hiring decisions based on that. Those clients DO exist, but they are not the only clients out there that are hiring for video. Are they YOUR clients?

                          What BM has done with their highly capable and highly affordable cameras is open up a whole new market for video production. I am doing a lot of my work with small businesses who have never hired for a video production before. I can charge a fair price (about $800/day shooting) and use my BMPCC (with sub $100 vintage Nikkors) to bring them really good quality without breaking their bank. And I don't break my bank in order to get hired. But those are MY clients. I won't say the old models of video production are dying out, but I will say that they are not the only models anymore. And ad agencies or networks or large corporations are not the only places to find adequate budgets for video production anymore. You just need to decide who YOUR clients will be, and structure a fairly-priced service that will bring value to them.

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