Steve Kownacki
3
COW Coins
2
Premiere Pro Coins
Forum Replies Created
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I’m no fan of auto anything. Too bad the wireless remote cannot control iris. Don’t think you have time to find a lens controller and extension.
Look at page 100 of the manual to set a target level for the auto iris and the speed at which the adjustments occur. Are there going to be huge differences in light level? Try to set up during a rehearsal and ask the light ops to give you full light and set that as your low iris level.
Use manual white balance. Easier to correct a consistently off-color shot than one that constantly changes.
With the remote you can set A & B points for the zoom – maybe you can create 2 presets for some variety… although without monitoring you’d probably forget which focal length you’re at.
Use manual focus too.
Don’t fall off the roof! Strap your camera down too.
Steve
Steve
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There’s also facebook, linkedin, skype, and sometimes they just stop in. I do believe you have control over it if you discuss with your client. Phone calls with changes I request an email so I have things in writing.
Steve
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Except for “I appreciate your business” I do not tell every client these and definitely not with the same gusto. Further, if I don’t have that kind of enthusiasm for a client they go on my watch list if I want to continue to work with them. My fellow COWs here taught me years ago to ditch the “grinders” and focus on the top 20% – I listened.
Steve
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Is there any chance you could get them to try a non-glare sleeve product like this
Let the organizer give them out well ahead of time.
Steve
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What Nick said and “The Contract and Fee-Setting Guide for Consultants and Professionals” it’s ©1990 but answers your question. Get it used on Amazon for $.01. It’s worth your first year’s salary.
Steve
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We don’t do weddings, but all of our gigs get a production memo from the Producer. This includes all pertinent info like venue, dates, call times, client contact info, crew contact info & duty, emergency #s, who’s bringing what gear to location, schedule, dress code, etc. Plus we’ve usually talked about the gig ahead of time and have a general heads up on what to expect on location. Our regular freelancers are accustomed to our memos as much as the in-house guys – it’s systematic now. That’s what you need to develop. Who’s filling what position and responsible for what. You can delineate roles and responsibilities way ahead of time so when the event is booked you merely say:
“Jim is cam 1 , Tom cam 2” With it being understood (in writing) that Cam 1 gets the groom before, mics him and the sanctuary interior, and is the side camera; Cam 2 gets the bride, wedding party & exteriors and is the rear camera. Or whatever your system might become. You also need to delegate who is the final “go to” person no matter what the issue, we’ll call him the producer. Somebody needs to be overall responsible for project management right thru post and delivery.
We use google docs for a lot of stuff – sharing a document with everyone allows them to look at it frequently and see the most recent version. I’m all about email simply for a paper trail to hold people accountable.
Have fun!
Steve
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Hi Adam
We have an Ultraflex policy with Erie Insurance gives us General Liability (damage we may cause to others, their property or venue), Inland Marine (coverage on our gear when out of the office) and office coverage for everything else in our studio. Best to find an agent that knows what these items are and not just giving you a policy – you may need them to go to bat for you someday on a claim.
Yes you do need insurance. You should require insurance from your freelancers as well.
Be sure to check out the Biz & Marketing forum, this is covered frequently
https://forums.creativecow.net/businessmarketingThe COW has great search capability within its forums too to find prior threads on just about any subject.
Steve
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Similar thread 2 years ago (jumps to my response, scroll up for full read)
https://forums.creativecow.net/thread/12/856667#856679I have not used this person, but an alternative to Harry Fox
Cheryl Cooper, 4C Permissions in Tuscon. https://www.4cpermissions.com/Steve
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Wearing my producer hat, I would not pay $500.
If you are are seriously qualified audio person I would pay $350-450. A whole kit would go for roughly $150-175 with 2-3 Lectros with Trams or Countrymans, pole, good mixer, cabling, mics, windscreens, and 2-3 sets of headphones.
If you are a “boom pole holder” this would be maybe $200 (+ $.51/mile if you can get it) and $30-40 for your mic and pole and a single cable. I’d also expect you to hoof gear as needed.
You should find out their camera model and be fully knowledgeable of its requirements and their desired settings. You should also find out exaclty what they are looking for in terms of your services and gear. There are too many mics to show up with 1 and its the wrong one. It’s also important for the boom op to work with the LD show you’re not a shadow creator.
I was called one time to be 2nd camera as a local stringer. “Just a DVcam, stix and power” is all the assistant on the phone requested know matter how much I asked “we have everything else”. When I showed up, they needed lights, a matte box, filters, cables and the DP sent me out as a B unit for 1/2 the day. Long story short, I ended up being a hero because I always bring extra gear and I was able to immediately re-negotiate my rate for my new title (cam op to DP) and get additional rentals above the original contract.
Add value so they call you back. But get educated about the shoot first.
Have fun & good luck!
Steve
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Thanks Mark, looks like Vidipax may have been liquidated back in 2009. I found a company local in PA that we can hand deliver to – that makes me feel much better.
Steve