Mick Haensler
Forum Replies Created
-
[Christopher Freeland] “Early this morning Sony just announced the US street price for its new PDW700 XDCAM HD422 camera. Confirmed by a Sony rep at Paramount Pictures the camera will sell in the US for $37,000.00 (without lens).
Ouch!!!!!!!!!
This comes as a big disappointment, especially for independent camera operators – myself included.
One can buy a Panasonic AJHDX2000 for $27,000 which is switchable from 50mbs to 100mbs bitrate 1920p 422 quality.Sony can kiss my A$$”
And this relates to the thread topic how?? BTW, how long have you worked for Panasonic?
Mick Haensler
Higher Ground Media -
If I may ask. What did you pay for your camera at Promax. I got mine from them also
Mick Haensler
Higher Ground Media -
Questions for an individual employer (someone like a Location Manager or Production Manager)
Where do you find the people you hire?
Word of mouth mostly. I live and work in a small market where everyone knows each other. Local network stations are also a good source for me. Most of the crews there are fresh grads looking to gain more experience.
What credentials/experience does the person need to get hired for this entry level position
Although a degree might get your foot in the door, I want to know what you can do. How diverse is your skill set? If you came to me wanting a job just as an editor, I wouldn’t hire you. I need someone who can shoot, edit, and do sound. Personality is a big factor. Since I’m a small shop and we will be working very closely, I need someone who is easy to get along with. No egos please.
What is your best/worst experience with employees.
My best experience is my assistant right now. He’s a self taught 23 year old who has been shooting and editing since he was 8. What he lacks in knowledge he more than makes up for in raw talent. He’s also quite wacked in the head which really helps. He challenges and energizes me and vice versa. We play off of each other. My worst experience was hiring a shooter who was working in production at the local CBS affiliate. He had a degree, a few years experience and seemed like a pretty nice guy. But he couldn’t shoot nor could he think for himself. In the heat of the battle he would freeze up and make costly mistakes.
How did you get hired on your last job?
I am currently leaving a corporate position to form my own company. I got this position by networking extensively. I can’t tell you how important it is to network in the community where you want to work.
What are your strengths/weakness professionally?
Strengths: Creativity, versatility, marketing, easily adapt to new technology
Weaknesses: Organization, completion. Although these are weaknesses of mine, I have found by focusing on improving them, they are slowly becoming strengths.Any other tips or information you could give me
Have low expectations about the money you will make. Don’t rule out taking a second job unrelated while you build your experience. Learn everything there is to know about this business. Ask questions, read books and magazines, and networknetworknetwork. And remember, you don’t know squat, even if you do, nobody wants to hear it, they want to see it.
Mick Haensler
Higher Ground Media -
So to sum it up…. If shooting for video, shoot 30. If shooting for a filmout, shoot 24. If you shot 24 for film but need to show it on television or DVD, apply 3:2 pulldown.
OTOH…. If you really think 24 looks better and are shooting for video, go ahead and shoot 24 and add pulldown in post.
Did I get it??
Mick Haensler
Higher Ground Media -
OOOOOOHHHHHHHH…..my head hurts now
-
I’ve been using a Cinebag backpack with my Z-1 for a while now, the EX-1 fits but is pretty tight. I’d rather have it tight than loose. You can also fit most everything else in your kit sans laptop. At around $150 US, it’s a pretty good deal. I’ve traveled internationally with this pack and it comforms to airline carry on standards.
Mick Haensler
Higher Ground Media -
[Craig Seeman] “If they ask for references I send links to the client’s websites (which are publicly available anyway of course). They can verify the job and the clients are genuine”
Can’t they just get the contact info from the website. Just playing devil’s advocate
Mick Haensler
Higher Ground Media -
[Mark Palmos] “really its better to have FCP on the laptop and ingest directly there because you will not have to import the clips separately. There is a bug however where you get 2 or 4 icons instead of one when ingesting to FCP.”
Even so, I won’t be editing on a laptop. I will still have to transfer the clips over to the desktop once back at the studio. I don’t see the advantages of capturing into FCP on the laptop and having to pay for the extra seat of FCP. Correct me if I’m wrong.
Mick Haensler
Higher Ground Media -
[ken hon] “Mick also was wondering about a lightweight tripod. We put together this Frankensteeen’s monster tripod for backpacking. It has Gitzo G1157 Carbon legs, an Acratech ball level, and a Manfrotto 701RC2 head. Works ok and is about as light as you can get and not have it tip over with a camera on it.
Hope this is useful.”
Very much so. I’m thinking my best bet here is to rig something similar from my still camera tripod which is very lightweight. Optimally I’d like this rig to serve double duty for still photography and video. I shot in Guatemala last year and went with a 501 head on a lightweight set of Bogen sticks. It strapped to the back of my Cinebag backpack and I was able to carry it on the plane with no problem. The sticks had a bad flip lock that kept slipping and had to be taped and any amount of wind over 5-10 mph rendered this rig useless. I need something more robust.
Mick Haensler
Higher Ground Media -
[Jeff Carpenter] “I never wanted to go full-time because I was afraid I might end up where you are now; tired and sick of it all. I’m sorry you got in too deep!”
Thanks Jeff. I think one of the main issues in the event videography industry is it’s near impossible to charge what you’re worth. Therefore, most “pros” steer clear of it. The industry is wrought with people who started out thinking it would be a cool thing to get into. There are a handful of companies who do get what they’re worth who handle mostly high end affairs. The rest are trying to work their way up to that. Most will not make it because their market won’t support it. They end up either leaving the industry or working for peanuts because they “just love doing weddings”.
My current guideline rates are $600 a day for field production(not including 2nd camera or a PA) and $90/hour for post. So let’s say I do a wedding at these rates. It takes me between 25 and 35 hours to edit, another 2 hours to author, 5 hours for cover and DVD graphics. We’ll just say 40 hours post at $90 = $3600+$600= $4200. Add in a 2nd camera at $300 and a third static wide for $150 and we’re up to
$4650!!!
In my market and many others, that is just way to much for the average bride to pay for an average wedding video. But that is what I need to make to operate a legitimate business with all of the things that go with it and not starve.
So the cycle continues. Newbies enter the market with an entry level price, do entry level work, and deliver an entry level product. Brides think that’s what it should cost and that’s all they’re willing to pay. Joe Pro can’t compete at that rate, tries to raise the bar. Either becomes “thee high end guy” in his area, succeeds or gets out. And on and on and on.Success to all in the New Year. I will not be thinking of you this wedding season as I sail my humble 22′ Catalina up and down the Chesapeake Bay.
Mick Haensler
Higher Ground Media