studiomprd Posted October 28, 2012 Report Share Posted October 28, 2012 " However, if you and your gear aren't worth top dollar then you shouldn't be charging top dollar. " exactly, and some of the folks who come here asking really basic questions, and demonstrate lack of problem solving and troubleshooting skills and experience shouldn't be charging top dollar. Quote Link to comment Share on other sites More sharing options...
Simon Paine Posted October 29, 2012 Report Share Posted October 29, 2012 You will become their first call because they know you will do it for cheap. Once you start charging them more you will instantly end up lower on the list. I beg to differ. I started out my career working for lower rates, like just about everyone. Over the years, as my network of contacts, my gear list and my experience grew, I started raising my rates. Sure it was a little scary the first few times you make a raise in a rate, but everyone knows it's all part of the game. The phone didn't all of a sudden stop ringing. My experience has been, producers would prefer to pay a little more for a known quantity (myself, after having worked with them before and my quality of work) then risk a miss-hap by going for an unknown person who happens to be cheaper. I also know that when I've been referred to another producer by one of my contacts, they didn't asked "hey do you know a cheap sound guy ?" they asked "hey do you know a good sound guy?" And frankly, I wouldn't want to be called by someone who was looking for a cheap soundguy. If you do a professional job, record good sound, be courteous, show up on time, don't piss off the talent, help roll up an AC cable at wrap, you can probably expect them to call you back. Quote Link to comment Share on other sites More sharing options...
Christopher Mills Posted October 29, 2012 Report Share Posted October 29, 2012 Noah, They don't budget $750 per day for the sound because people like you will do the gig for $400 and provide every last piece of gear they ask for even if it means you are losing money on the job. You shouldn't set your time and gear rates based on what the camera person is charging. You will never be able to raise your rates once you have set them low. However, if you and your gear aren't worth top dollar then you shouldn't be charging top dollar. They are shooting with a 5D. That means you need 2 channels of mixer and recorder with timecode, boom, lav, boom pole, C-stand, sand bag, boom pole holder, XLR cables, gear bag, case, headphones, media to record on, battery system, expendable batteries, timecode slate and appropriate cables, microphone mounting for both boom and lavs. Your gear package to do an adequate job for one pompous ass on a couch costs far more than their camera, lens, kinos, and all their accessories. So, tell us again why the hell you think $400 is appropriate? Perhaps you're doing the gig purely for the experience and you aren't charging for time? Or do you simply not realize this is a business and you either need to raise your rates or call it a hobby or else you'll be washed out sooner rather than later. Senator is right.. I would only book that if it is night before and no other prospects on a day I had no plans for my personal time.. you do not need to provide that at that price. from me they would get: 442 and a 1/8 stereo mini to mini cable in to one of the 5ds 1 wired lav 1 wired hyper or shotgun in a portable mic stand (not a true boom). Tascam non tc recorder out the other output on my 442. MAYBE a dumb slate Timecode is wasted on that job at that price point and a higher rate if they crossed 4 hours portal to portal Quote Link to comment Share on other sites More sharing options...
Noah Alexander Posted October 29, 2012 Author Report Share Posted October 29, 2012 You shouldn't set your time and gear rates based on what the camera person is charging. You will never be able to raise your rates once you have set them low. However, if you and your gear aren't worth top dollar then you shouldn't be charging top dollar. Exactly. A year ago I had zero credits, 2 Sennheiser lavs, a Zoom, and a boom working for $200. Now I have better gear and am booked up with $400-$600 days and an intern boom day under a 20 year union vet whom I can learn from and work my way into more $700 days. I posted this job for the other mixers in my situation. Here in LA there are SOOOOO many jobs at every tier and SOOO many sound mixers ready to work. The only solution I'm hearing is not taking the job to teach the producer that the sound position is worth more but I haven't seen that happen. I have had many producers pay me more after working with me. Maybe we just should start a union... Quote Link to comment Share on other sites More sharing options...
mikefilosa Posted October 30, 2012 Report Share Posted October 30, 2012 5D shooting w 2 kinos. Double system for $400 ? TC Slate ? 3 person crew so there will never be $750 for the day. Actually, I've been on lots of 3 person crews and short days with DSLR - for $800. Clients have been taught the right rate... Do understand that the camera rig probably commanded at least 350, and Kinos here rent for 100-125 per.... Also - producers DO talk to each other - and this rate structure can spread like an infection.... BTW - what is the contingency if the "day" exceeds the promised 4 hrs? MF Quote Link to comment Share on other sites More sharing options...
studiomprd Posted October 30, 2012 Report Share Posted October 30, 2012 " not taking the job to teach the producer that the sound position is worth more but I haven't seen that happen. " they just go down the list, or ad on CL... many of these folks have only one criteria: price. our not taking the gig does not bother them. Quote Link to comment Share on other sites More sharing options...
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