Forum Replies Created

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  • Steve Kownacki

    July 10, 2009 at 11:40 am in reply to: Sennheiser 416 Indoor advice

    I too am a huge fan of a supercardiod mic close to the talent – I use an ancient Sennheiser ME-40/K3U thru a Shure FP32 mixer. Mount the mic above them as your headroom won’t change much; if you mic below, as you get wider shots the mic needs to be out of the shot and your tone will change dramatically with even slight distance changes. For outdoors I have a windjammer (looks like a furry rodent… on a stick)that doesn’t soak up too much fidelity.

    Consider renting this stuff and a soundperson rather than purchasing. You’ll learn something and you can focus on your vision rather than tech stuff.

    Steve

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  • Steve Kownacki

    July 9, 2009 at 10:54 am in reply to: Ultimate sample typical contract for newbies

    Kudos to Mark for headlining the Pure Non-fat News!

    Steve

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  • Steve Kownacki

    July 8, 2009 at 6:39 pm in reply to: Ultimate sample typical contract for newbies

    Is it understood then that due to their impending short deadline, and that the fact that the accounting dept is on vacation, that we’ll happily start work without a deposit and without actually receiving a signed contract?

    Steve

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  • Steve Kownacki

    July 8, 2009 at 11:54 am in reply to: Need to learn more about Lavalier systems

    Be sure to get something with a gazillion channels and know how to change them quickly. Churches and venues have lots of wireless stuff and they won’t change freqs for you. Not to mention the rehearsal will go fine but the day of the event, you’ll get interference or no sound. And don’t be afraid to ask if you can just plug into their sound board and use their audio hard-wired to your gear. It’s been said before and I agree, if I can stay away from wireless I do.

    Steve

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  • Steve Kownacki

    July 7, 2009 at 11:00 pm in reply to: Video Production Invoice Templates

    Here’s mine, hasn’t changed in 18 years… except for the occasional address change. Folds up nicely, looks like typical business correspondence. Some of the other great functions of software are time tracking (it logs your time and then posts on an invoice), you can see all of your outstanding invoices, they generate tons of reports on receivables, payables, profit and loss, etc. use it to track profitable customers so you know who to send gifts to that’s where you spend the creative time.

    Steve

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  • Steve Kownacki

    July 6, 2009 at 12:09 pm in reply to: Video Production Invoice Templates

    I stopped using my bookkeeper from the new CPA firm we have because I know more about the workings of quickbooks than she does. You really want to use the invoicing function because then you post the receivable against it. How and what was your bookkeeper doing with WORD? They’d have to enter the data anyway. QB nicely tracks things so you know who is behind and easily send statements – with finance charges of course (and you can’t charge that unless it’s written on the original invoice). YES, it is your moral imperative to know your business’ financial status.

    And another thought: The books are the books. That is the business end of things. Black and white. Your name, address, a description and a total. Get a box of #10 double-window envelopes at your local office supply store, don’t use your expensive pre-printed stationary. Don’t think that because your invoice looks like a work of art it will get paid any faster or they will hire you for more jobs. Beancounters look at the number, make sure it’s correct and type in into quickbooks as a payable and file it away.

    Steve

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  • Steve Kownacki

    June 27, 2009 at 2:33 pm in reply to: what’s the day rate for a touring editor?

    aside from hampering your other money-making opportunities… I’d write a scope of duties and times that you are on the clock. (I hate going out of town and clients thinking that I’m on duty 24/7).

    1) outline what you will be doing and when. If you get there at noon to load in, shoot and edit, then strike at 1AM or later – that’s 13 hrs. If you do $500 for 10 hrs, that’s $50/hr. Time & 1/2 for the remaining 3. Is this the schedule EVERY night? What about days that don’t include a gig? Plus you may lose work since you can’t be in touch as if you were in the office – I’d add more in for that too.

    2) I’ve got producers at $550/day, but they’ll also do $1200/wk for longer gigs.

    3) Is it your editing and camera gear? Don’t forget rental charges. And what if you gear goes down? Know the tour route and coordinate the day before your next location to have local resources in hand for immediate rentals/repairs. Or bill them and take backup for your backup.

    4) I know shooters that bill a 4-day week if I book them for 7 consecutive days.

    Just some ideas in manipulating your fee. I agree with Ron that you are a business, not a friend in this case. Make sure you have clear payment arrangements before you get on the bus – in writing.

    Sounds like it could be a very cool gig!

    Steve

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  • Steve Kownacki

    June 25, 2009 at 6:15 pm in reply to: Send out demo reels

    DOH!

    You pass the test grasshopper. You have vision of eagle.

    Steve

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  • Steve Kownacki

    June 25, 2009 at 4:19 pm in reply to: Send out demo reels

    I learn so much from the cow… this thread has generated item #14 on my blog about applying for a job.

    https://blog.finalfocusvideo.com/?p=16

    Steve

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  • Steve Kownacki

    June 23, 2009 at 12:27 pm in reply to: Producing a daily TV show

    You’ve already racked up about $10K in producer expenses wrting/reading this thread, researching gear, working on proposals, etc. Don’t forget to add that in too. I’m on the “run away quick” bandwagon too BTW.

    Steve

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