[Steve Kownacki]

Depending on how they were stored you may not want to take the chance. I know on my DSR-570 there’s a tape test function and many older tapes tend to fail.

Steve

[Steve Kownacki]

I applied that principle on a calculus test years ago. I had the correct answer but was only given 1/2 credit for not showing the work. Suppose the value might be the same here.

Steve

[Steve Kownacki]

Don’t forget to take out 35% for taxes and some more for insurance and the travel time (not just mileage) and the time reading this thread…

Steve

[Steve Kownacki]

My best arrangement is an LLC with a corporate “S” status. My point being get a good tax accountant that can inform & educate you to of all this stuff. A website won’t do that for you.

Steve

[Steve Kownacki]

Looks like the cam is only about 10 feet from the subject but the subject is probably 100 feet from the background.

Steve

[Steve Kownacki]

Is this a new client or existing with a track record that you could compare similar product to time invested?

We had a similar situation a few years ago where client wanted 13 episodes of “QVC-looking” sales show that was almost entirely graphics with video elements they provided. We created 65 segments that they tagged together, along with a show open, interstitial graphics, and credits.

What I did was show them a similar product and associate some sliding costs. We agreed on a ‘ballpark’ figure to develop the look and concept and the 1st segment. All the while we diligently noted times for edits based on their input, render times, etc. We then reviewed the notes and came up with a fixed cost for the remaining 64 segments based on a scope of work. If the scope changed it was billable.

I can see a fixed cost per episode if the work is exactly the same each time. And they may not go for time going over budget ’cause they can argue you got slower or you’re milking them. But it the project changes, that’s another thing.

My fear for you is that the work that takes place over the course of time is how available do you need to be and the immediacy of getting finished. If you have to rely on last-minute assets from others, does that mean you work all night to get done or do you have time to put it in your schedule? Rush work should be billed additional if it becomes their habit. Just put it all in writing.

Steve

[Steve Kownacki]

Hi Dustin
I can’t comment on that specific camera but will relate a recent experience on a 2-cam shoot with 1 robotic cam.

Event: solo piano player
Setup: 2 piano mics, headset mic, 4 direct boxes, 3 wireless handhelds, IMAG, sound reinforcement, 2 cams, PPT, live switch, monitors, iso record, master record, wired intercoms, remote feed to overflow room, additional lighting.
Crew: me as director/TD, 1 cam op, 1 audio engineer.

This used every bit of 6 hours to setup and soundcheck.

First, consider how much gear you are hauling around, while they may be a cam op, they are a qualified body for setup, testing and strike.

Once I got the hang of the robotic unit, I got some cool shots – But remember you can’t anticipate what’s going to happen on 3 cameras. If the person stands up, it’s dang impossible (even without your other chores) to grab the right camera control and do a smooth move like a cam op would get you. https://grizzlypro.com/index.htm. PTZ, focus & iris on an Ethernet cable! Doesn’t get easier than that; although only composite video.

I will say it was the coolest thing to mount on a stand behind the pianist to get close-up hand shots, audience and other stuff.

Maybe you should start out by replacing 1 camera and work up to going all robotic; plus I’d get a 4th as a spare. Plus I’d be leery of anything not hard-wired.

Cam op is off on the far right under the exit sign, remote cam is behind pianist to the left about 7′ high (silhouetted in the back uplight).

So I guess what I’m saying is don’t undervalue people (I don’t think you are) and definitely practice your entire scenario of setting up and working the cams and all your gear on a fake event. Some of those simple remotes can have programmed shots too – big help.

Steve

[Steve Kownacki]

I have always used the house analogy and to expand it goes something like this:

you have a blueprint, I have a script
you have an architect, I have producer
you have a hammer, I have a camera
you have a shovel, I have an editor

I can show up with a pile of lumber, nails and carpenter, but without a plan I don’t know where to begin. The same that I can show up with a camera and just start shooting things. If I don’t know where I’m going costs will probably get uncontrolled.

If you can show me other videos you like I can ballpark them based on some criteria of locations, talent, blah, blah, blah.

Steve

[Steve Kownacki]

[John Grote, Jr.] “Why do people and companies think we know how to operate every single piece of equipment and also be proficient in operation said equipment. “

This was covered a bit in the thread below. https://forums.creativecow.net/thread/17/871614 Answer is ’cause you have to.

They may have had a guy in there that touched some of that stuff and the person writing the job description is looking for the closest replacement. I wouldn’t get upset with it but simply ask to see some of the work and make a call how good the work really is – with any of the applications. I don’t permit people to use the word proficient because no one is. I can’t tell you how many PPT presentations I fix because they can’t – gad do I hate PPT. It all comes down to willingness to learn and logical thinking with most of that stuff.

Be great at a few things but try to master the other 642.

Steve

[Steve Kownacki]

Right there in the gray banner.

Steve