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Found 9 results

  1. I told the first UPM that inquired within 48 hours of having wrapped a little movie that my kit had gone up 1/1 and that I needed $500/week kit for my team. Crickets. Told the next one a month later 1) I wasn't hungry and 2) about the 1/1 raise thinking she'd also disappear after flying it up the same flagpole. Crap. The answer was, "Yes." I was so surprised and paralyzed I couldn't get to the above contract or anything else after she told me what there wasn't for expendables. Lessons? Keep notes on the next deal you want near for emergency consultation; and It's O
  2. 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 &
  3. I've been working as a production mixer for a couple years and am starting to work with bigger companies and more established productions. I'm looking to my fellow, more experienced mixers to help me with building a sort of formula for what I should be charging for gear (for true productions with an actual budget backed by a network). Wireless systems, camera hops, lockits and the like. What do y'all use as sort of a baseline? Is it a percentage of the actual value of the item? What items do you sort of bundle together? Looking forward to hearing your thoughts on this. Any input is greatly app
  4. Hello all, I'm writing today to see the general stance on an 'indie rate'. I have been doing bag work for nearly a decade now and have generally turned down or priced myself out of all the indie flicks that have come my way. What can I say, I like my predictable 10 hour full rate days and have gotten pretty good at it. Lately however, I'm being asked more and more to quote on indie projects. Sometimes from regular 'corporate' clients who themselves are branching out. One thing that gets said to me often is 'you have to realize this is an indie project...'. As if that's suppos
  5. Interesting piece on the salaries in Hollywood. They missed out the sound department though! http://www.businessinsider.com/hollywood-salaries-revealed-from-execs-to-extras-who-makes-what-2015-10
  6. I seem to have an increase in calls from producers calling me for half day of work- The call usually goes something like this- 'It's only a couple of sit down interviews shouldn't take more than 4 hours what's your rate for just half a day? What do you guys think of this- I often feel that if I book a half day then it's not as though I can take another gig to fill the other half of the day and so I should be paid a full day. These gigs have pretty much taken me out of the loop for the day anyway.
  7. Hi All, I was following the "basic package" - "standard kit" thread from a week or two ago, but didn't see any posts regarding what constitutes a "basic bag kit" and appropriate rates for such in Ontario, Canada and whether it's the basically same as U.S., Aus, U.K. How do ENG, Doc and corporate gigs in Canada compare regarding outlining a basic kit/gear package? Thanks for any discussion...very kind :-) Cheers, Dave
  8. Hi Guys, I work mostly on Documentaries, Reality and corporate commercial type work. Recently I was offered a job for a week long pickup on a narrative show that usually films in Norway for a show on Nextflix. (Not House of Cards). The PM offered me $300 for 14hr day overtime after that. $900 for 6 days of equipment and $150 for expendables. $200 a day for a boom up. This sounds absurdly low to me and somewhat insulting actually. Maybe some of you guys who started off on smaller budget narrative shoots can chime in? Should I turn down the job or just make a counter offer? Is
  9. What are You….Really??? Aaron “Cujo” Cooley Let us not beat around the bush. Things are tough right now. The marketplace is flooded, the jobs are far-flung, under-budgeted, under-funded, scarce, or just plain being run by fools. Add to that the fact that recording technology has advanced by light years in the recent past and it seems that the whole universe is conspiring against you and your efforts to make a living. Equally true though is the fact that there are many in the business that are doing just fine, with plenty of work for the foreseeable future. A fine lesson would be to l
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