[Charles Lorch]

I don’t think you owe anyone anything in this circumstance. So long as you didn’t pursue going around your client to get to the end client, there’s nothing wrong with placing that bid and potentially getting the work.
The one thing I’d look out for is will you potentially lose other work from your current client. We work with a number of ad and PR agencies , and wouldn’t consider skirting most of them in this sort of situation, even if we were in the right, due to the impact it would have with them long term. You have to evaluate which relationship will be the most valuable long term sometimes, because even if you’re in the right, don’t expect to work with your friend / current client again if you get the end clients work directly.
Also consider, is there anything your current client is doing for the end client that you don’t want to or can’t. You’d hate to get the gig and then end up losing it or even deciding you don’t want it, because then you’ve lost on both fronts.
In all there’s nothing wrong with it ethics wise, just make sure it’s your best move.

[Charles Lorch]

I take it from your concern over affecting the unexposed film that this is a working dark room and not just a location for a contolled shoot. If that’s the case then I’d ask the question of how much “red” light is acceptable and still safe for the film. If you can get several bulbs fired up perhaps the level would be good enough for mild or no gain.
What are you shooting on? We shoot most of our stuff in 30p (SDX900) , and I’ve had alot of success shooting 60i but with the super gain on. I get alot more light and maintain the 30p look. Matches very well.

[Charles Lorch]

I’m particularly fond of the client who thinks they know the business. I recently had a client who hired a new guy to do all their buys and traffic. He always tried to say how much he knows about the business and how he once ran a production company. That didn’t stop him from refering to the tape format “DVDPro”??!! He also called to see if I could modify a spot, new GRFX VO etc. , from a beta dub as if it where a project.
The other is a client who worked in production 20 years ago and wants something with “video in boxes”. I think we can come up with just a bit better.
You don’t tell the mechanic how to fix the car because you once changed a tire, or the builder how to put up the wall because you hung a picture. Just give us a direction and a goal and step aside. You’ll be happier in the end.

[Charles Lorch]

I think the first question would be why to source on HD/Varicam? If the goal is to provide this to the stations, chances are they shoot some flavor of DV. Just go with a high quality SD 4:3 60i workflow and issue solved.

[Charles Lorch]

Thanks for all the thoughts. I agree %100 on making things clear up front and try to do that with all of my clients friends or not. I thought I did that. Isn’t there some point were you don’t have to spell out every scenario, and standard practices should take over. I guess not for everyone.
I didn’t want to say it before because I wanted honest answers but this guy is known as always trying to get a deal. He’ll order a sandwich and then at the end of the meal when asked how it was, he’ll say “Well, it had cheddar cheese and I asked for american. ” and then happily have it taken off the check. I’ve seen that one more than once.
I guess I was trying to make it work out. Never Again.

[Charles Lorch]

[David Roth Weiss] “Your friend is obviously concerned about offending and possibly losing the client.”

Actually I think he’s more concerned about his own bottom line. He is getting a flat rate for the job from his client, and based on information he gave me, a nice margin on it. But I don’t think that should affect my charges when we had a clear rate. Did we spell out that if there was weather what the rate would be, or if his client cancelled a portion what that would make the bill, no. I would base that on industry standard business practices, which is what I’m trying here to be sure I’m doing.

[Charles Lorch]

I guess what I really should have done is post this without the mention that he’s a friend. That’s obviously what makes things trickier, but on a pure business side, does weather or a change in planning affect the pricing that anyone else does? I’ve always been under the impression that so long as you’re on the gig, you should be getting paid regardless of the clients inefficiencies.

So here’s the question…
When traveling on a shoot, based on a day rate, would anyone else adjust their agreed to rates for the client do to schedule changes by the client or weather setbacks. Keeping in mind you’re on the road. And if you would adjust, then how much?

I’m looking for a strictly business baseline to then create a friend arrangement off of. In fact I thought I was doing that in taking a $1500 bill and making it $1100. Just want to be sure I’m starting from what I see as a solid industry baseline.

Thanks,

[Charles Lorch]

Thanks for the info and the link. The link is dated end of 06, so I’m curious how acurate those assertions are with things moving as fast as they are.
The reason I mentioned the tie between PS2 and BluRay from Encore, is that’s what I was told at NAB, although I never did find just which demo booth/stand had it.
If I might ask, what is your client intending to do with the HDDVD project you’re working on once it’s complete? Is it for distribution or an installation or show? That’s what we see (installation or show) as our first chance to push a client to an HD deliverable.

[Charles Lorch]

Sorry. I thought I was in DVD Studio Pro forum.

[Charles Lorch]

I’ve never worked at a city/gov channel but one big issue I’ve seen from the outside is the ability of the people who end up being shooters. Often times these are not people who are specifically shooters but rather producers, editors, and even interns who are shooting. If this is the case then there is a considerable edge given to a set-up that is a little less complicated. As much as I hate the idea, you need to in these cases hand someone something that can be ( It hurts me to even type this ) “AUTO”. If this is the case than any of the prosumer cameras fits the bill nicely. I couldn’t see going with anything short of one of the new HDV cameras out there. Even if you only shoot DV with it to start. Why pay almost the same money for something that’s only SD when the combo option is there?
If you are staffed with real full time shooters than anything closer to a broadcast style, full size camera is appreciated. Whether there is an actual practical ergononmic reason ( which I think there is ) or it’s just mental, this is a better set-up for someone who can handle it.
In all alot of variables to consider. Good Luck!