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Found 6 results

  1. Fellow sound mixers! I wanted to get your feedback on Los Angeles non-union rates. I recently upgraded and bought more gear. So I wanted to share with you my gear and see what you guys charge. That way I am not under cutting other mixers or being offered less then a fair rate by clients. So again what would your labor rate and kit rate be? Also what would your kit include before you start charging a la cart? Thanks for your time with this. Below is what I currently have (1) Sound Devices 664 6-Channel mixer/recorder (3) Zaxcom TRXLA2.5 transmitters (2) Zaxcom QRX200 & QRX235 ENG receivers (3) Countryman B6 Lav mics + all mic accessories (1) Sennheiser MKH-60 Shotgun mic (1) Zaxcom Camera Link Transceiver (2) Zaxcom ERX2TCD IFB/Camera Link Zaxnet Audio & Timecode Receiver (1) ENG Breakaway Cable for Sound Devices 664 with various camera ends (1) 9-ft K-Tek boompole (1) Rycote Softie
  2. I’m about three years into the professional sound mixer world, which means the last couple of years I have been rapidly increasing my rate. And in doing so I have had a decent bit of client turnover. Just recently I lost a client who was easily 1/3rd of my income last year. The producer would often say things like “the union doesn't care if the producer gets paid.” I certainly don't think producers have as much trouble getting paid as we do, but I have been thinking a decent bit about what is a fair payment for the job. Personally I have started thinking of my rate card as the amount that you have to pay me not to be interested in the business side of the work. That is to say, if you pay my full rate I don't care how much money you are going to make or how much you were paid to create the work. I will work hard and be happy with the amount I was paid. When a client can't pay my rate card I want justification for why I should work for them. If what I’m doing is not being paid at the market value, I’m in a way investing in their project. And like any investor I want transparency and justification for my investment. Now obviously as projects get bigger being seen as an “investor” becomes less realistic but I feel that the concept still applies. I’ve tried to map out full budgets myself for smaller productions and thought about how much I would pay my sound mixer if I was a producer of a small Interview/Recre based TV show. All of that just becomes a bunch of numbers and percentages so I dunno if this forum is the best place to post it, but I would gladly share it if anyone was interested. Has anyone else worked through a budget for projects or been on the “other side of the desk”?
  3. I have hear many "stories" about for "per episode rate" here. According with Greek labor law and unions that it doesn't exist. It's only "per day" or "per week". The actors/actresses it's different story. Many "productions" here offer "per episode" rates and not "per day or per week". Be careful my friends because here we are "laboratory animals" for the "future labor and how it paid". In one episode you can work for 4 days. In other episode you can work for 10 days. It's not the same for rates this. So be careful.
  4. Hi, I accidentally managed to record a whole day's shoot with my Nomad set on frame rate 30, while the picture is 25. Now post is reporting problems with it, I don't know if it's an assistant or not, but somehow I assumed they would know how to deal with it and it seems they don't. What's the easiest way/software to change the frame rate on the TC? Apparently they're using Final Cut Pro. Thanks!
  5. A few recent discussions about gear rates and other related bumps in the road to fiscal success led me to wonder if there were experts in the field who might be able to speak to these things to our collective benefit. [Editing 'cause I accidentally hit 'publish' before finished writing. Oy.] Suppose a lawyer might give us some ideas about negotiating. But there's more to it than that. With a moment to think about it, we need spokespeople from within our own community to address and brainstorm and we've done that pretty well already. Or not.
  6. a curious question. For arguments sake, let's use a Lectrosonics kit for a month. Whoever your favourite local (or not) shop is will give discounts for the month. Say, 15 days. If you're working 20 days for the month and you own that Lectro kit - are you charging the same as your favourite shop? or do you charge for each day of use? Now, let's say it's a 3 month contract. Do you cut rates overall or do you discount the gear you're using to be in line with the shop? Do you get pressured to reduce rates to be more in line with the shops? Do you hate the shops for offering rates like this? Or do you like them because you can rent something for 12 days a month and benefit from charging 20 days (or something like this) thoughts?