Stillweii Posted December 30, 2014 Report Share Posted December 30, 2014 I always love threads like this. Rates are too often not discussed. I ask 500/250 for my basic kit in NYC, which is a Nomad, two Lectros, two Comteks, and boom. I'm often asked to work for less and don't. I value the time off more. I will, however, happily take more when I can get it. Extra wireless are 75, ERX for camera is 75, Comteks are 25. So with all 7 wireless and 6 Comteks out my kit goes for 725. I work solely on one-man-band bag jobs - docs, doc-style stuff, interviews, corporate, and reality. My biggest client is a growing production company headed by a doc filmmaker who is expanding his repertoire. I have grown my rate as they've grown their projects. Nomads rent for $250 normally.... if anything thats a rate for a MAXX/Lectros w/o comteks. Corporate and reality would pay the extra for sure. But keep kicking butt. Quote Link to comment Share on other sites More sharing options...
Abe Dolinger Posted December 30, 2014 Report Share Posted December 30, 2014 Sounds like it's time to upgrade my clients again Quote Link to comment Share on other sites More sharing options...
Wandering Ear Posted December 31, 2014 Report Share Posted December 31, 2014 Nomads rent for $250 normally.... if anything thats a rate for a MAXX/Lectros w/o comteks. Corporate and reality would pay the extra for sure. But keep kicking butt. From where? Prosound rents the Nomad for $150/day, and a 3 day week. Quote Link to comment Share on other sites More sharing options...
Angelo Waldron Posted January 1, 2015 Report Share Posted January 1, 2015 (In Absentia) Quote Link to comment Share on other sites More sharing options...
GNinja Posted January 14, 2015 Report Share Posted January 14, 2015 First time posting. Learning lots just by going through these discussions. Thanks for sharing the rates too as it helps me restructure mine. I started out a couple years ago and still figuring things out. In regards to rates, has anyone done non-profit gigs before? would the rates be the same as commercial and films? Quote Link to comment Share on other sites More sharing options...
Ze Frias Posted January 14, 2015 Report Share Posted January 14, 2015 In regards to rates, has anyone done non-profit gigs before? would the rates be the same as commercial and films? That's a hard one. It's very possible that NPOs will offer you or negotiate for a lesser rate due to the nature of non-profits, but honestly, as it is the case with everything else, the rate will be whatever you are able to negotiate. Quote Link to comment Share on other sites More sharing options...
Jack Norflus Posted January 14, 2015 Report Share Posted January 14, 2015 I have gotten full rate from some non profits - as well as giving some a discount. It all depends. Quote Link to comment Share on other sites More sharing options...
GNinja Posted January 16, 2015 Report Share Posted January 16, 2015 Thanks for the response. By the way, for josefrias and syncsound, the rates you posted, are these for non-union gigs only? If so, are these rates based off of union rates? How are these numbers broken down? I'm from Canada so if there are any Canadian sound guys here that know or have a link to information regarding rates and how they break down, that would be great, otherwise, other country breakdown is a good place to start as well. If my former two questions are too personal, you don't have to share them either, I'm just curious as to the trends of union vs non-union pay grades. Thanks! Quote Link to comment Share on other sites More sharing options...
Ze Frias Posted January 16, 2015 Report Share Posted January 16, 2015 Thanks for the response. By the way, for josefrias and syncsound, the rates you posted, are these for non-union gigs only? If so, are these rates based off of union rates? How are these numbers broken down? I'm from Canada so if there are any Canadian sound guys here that know or have a link to information regarding rates and how they break down, that would be great, otherwise, other country breakdown is a good place to start as well. If my former two questions are too personal, you don't have to share them either, I'm just curious as to the trends of union vs non-union pay grades. Thanks! I'm not in the union, so the rates I posted are for non-union gigs only. I believe union rates are all over the place with the many tier levels, but, at the highest tier level, I think that the Production Sound Mixer's minimum is higher than my posted rates. What I did base slightly off of union scales is overtime; 1.5x after 8hrs, 2x after 12, etc. I came up with these numbers after discussing with the fellow non-union mixers in my market about what the proper rates should be. Most of them agreed that $550/10 is an appropriate rate for Production Sound. Quote Link to comment Share on other sites More sharing options...
syncsound Posted January 18, 2015 Report Share Posted January 18, 2015 Thanks for the response. By the way, for josefrias and syncsound, the rates you posted, are these for non-union gigs only? If so, are these rates based off of union rates? How are these numbers broken down? Those are non-union. As Jose mentioned, union rates are established as per the particular tier of the production, which is set by IATSE contract. I did model some of my terms on union contracts, i.e. per diem, travel, OT, mileage, etc. The upper tiers of a union contract are a good template to ensure you're not taken advantage of when negotiating for yourself. My day rate is comparable with other mixers in my area, the Pacific Northwest. Quote Link to comment Share on other sites More sharing options...
dirtbiker Posted January 19, 2015 Report Share Posted January 19, 2015 Hello to all of you. I'm new to this group but have been reading it on occasion for years. Been reading this post on rates and was hoping to get some guidance on an issue that came up for me last week. Client from LA, a currently running reality show of sorts they claimed, was coming to my area for two days for a two-camera shoot. Looking for some crew folks... AC's, PA's and sound. Sound was to be two engineers working 12 hour days @ $450 each. Client was bringing their own (rental) SD 788 mixer/recorder and was wanting an additional SD 522 mixer for the B camera, 6 wireless to "float" between the two mixers, two camera hops, two IFB's. Gear rate was $500 total for each of the two days though not sure if that amount still holds now that they are supplying the 788. Honestly, I could find no one to take this job and now I'm feeling bad for offering it since it appears this is way low for this kind of work. Is this the norm for LA jobs or are these guys simply playing me for all it's worth. Top it off they are balking on providing a workers comp insurance certificate naming my company as additionally insured. If someone gets hurt they will look to me... the guy that called them... for coverage since I do have it for my guys and gals. But this is not a full production whereby I'm getting money on top of the crew, gear, etc.. I'm only giving out names to help them out. Your comments and advice will be aappreciated. Quote Link to comment Share on other sites More sharing options...
John Blankenship Posted January 20, 2015 Report Share Posted January 20, 2015 I've heard the "That's the going rate in LA," and "That's the going rate in New York" nonsense quite a few times. Just because there are people willing to work for a substandard fee doesn't make it the "going rate" I had one company that had hired me in the past decide they could cut corners by purchasing their own gear and using less qualified people to just lay down a bunch of tracks. After they "crashed and burned" on an important job, when the company returned to town they didn't squawk a bit about hiring me again -- and my gear package -- while their shiny, expensive, misguided investment sat dormant. Sometimes there's justice! Quote Link to comment Share on other sites More sharing options...
dirtbiker Posted January 20, 2015 Report Share Posted January 20, 2015 I've heard the "That's the going rate in LA," and "That's the going rate in New York" nonsense quite a few times. Was not suggesting this was a going rate. I don't know what the rate is or even should be for this kind of work so educate me, please, and I will be in a better position next time to ask for more or tell them where to go : ) Quote Link to comment Share on other sites More sharing options...
John Blankenship Posted January 20, 2015 Report Share Posted January 20, 2015 Was not suggesting this was a going rate. I don't know what the rate is or even should be for this kind of work so educate me, please, and I will be in a better position next time to ask for more or tell them where to go : ) I wasn't claiming that this is what you were suggesting. I was simply sharing some experiences, but apparently you didn't take it that way. Sorry. Quote Link to comment Share on other sites More sharing options...
Ze Frias Posted January 20, 2015 Report Share Posted January 20, 2015 $450/12 really isn't the going rate for New York, and I suspect it isn't for LA either, but I too have gotten offers from LA production companies claiming that to be the "standard" rate, or that that's what their LA guy/gal works for. My response is always the same: "fly them out then" (okay, maybe not that exact way, but you catch my drift). I really only see this from reality production companies, don't know why. The other thing I do see happening a lot is these companies wanting us to use their gear, which I've done a few times, but I'm not too keen on either for obvious reasons. I'd say that $500-600 for 10 hours is more of common labor rate. Ymmv though. Quote Link to comment Share on other sites More sharing options...
John Blankenship Posted January 21, 2015 Report Share Posted January 21, 2015 I told one production company that I'd charge more to use their gear. Quote Link to comment Share on other sites More sharing options...
Freeheel Posted January 21, 2015 Report Share Posted January 21, 2015 I've done the same. If I'm going to use your FP32 hanging around my neck on a string with 2 duct taped fixed frequency Lectro 195's (that are tuned to a frequency that only works in your company's home town) I'm charging extra. Cheers, Brent Calkin Quote Link to comment Share on other sites More sharing options...
Ze Frias Posted January 21, 2015 Report Share Posted January 21, 2015 I've done the same. If I'm going to use your FP32 hanging around my neck on a string with 2 duct taped fixed frequency Lectro 195's (that are tuned to a frequency that only works in your company's home town) I'm charging extra. Cheers, Brent Calkin More often than not, though, it's a 788 package with Lectros that these production companies I speak of offer. My biggest issue is that at least with my gear, I can provide certain guarantees. With provided gear, it's a crapshoot. You never know for sure if it's going to work, or if there are missing pieces, etc. I've seen some weird things with provided gear, I'm telling you! VER, need I say more? Quote Link to comment Share on other sites More sharing options...
dirtbiker Posted January 21, 2015 Report Share Posted January 21, 2015 More often than not, though, it's a 788 package with Lectros that these production companies I speak of offer. I, too, am seeing many requests for the 788 package and, yes, these seem to be the reality-type TV shows that are using them. Many offer up their 788 traveling unit for use by the local sound recordist since, unless you're doing this type of work daily this can be a pricey unit to have sitting on the shelf. Seems there should be a defined rate for this as it is not the normal "two wireless and a boom" kind of assignment that, at least for my work, is what I have seen most often. Quote Link to comment Share on other sites More sharing options...
Constantin Posted January 21, 2015 Report Share Posted January 21, 2015 I've done the same. If I'm going to use your FP32 hanging around my neck on a string with 2 duct taped fixed frequency Lectro 195's (that are tuned to a frequency that only works in your company's home town) Should you you ever take that job I would love to see a picture! Sounds like fun Quote Link to comment Share on other sites More sharing options...
Freeheel Posted January 31, 2015 Report Share Posted January 31, 2015 I didn't take the job, but thought a representative photo would be fun anyway. Quote Link to comment Share on other sites More sharing options...
Jan McL Posted February 1, 2015 Report Share Posted February 1, 2015 I told one production company that I'd charge more to use their gear. Brilliant sensible strategy. Quote Link to comment Share on other sites More sharing options...
pkautzsch Posted February 1, 2015 Report Share Posted February 1, 2015 One thing is wrong about that pic. It should be two first-generation Sennheiser Evolution wireless packs, in a frequency range that has since become illegal. I didn't take the job, but thought a representative photo would be fun anyway. Quote Link to comment Share on other sites More sharing options...
Constantin Posted February 1, 2015 Report Share Posted February 1, 2015 I didn't take the job, but thought a representative photo would be fun anyway. Excellent! Thanks for the effort! Quote Link to comment Share on other sites More sharing options...
Freeheel Posted February 2, 2015 Report Share Posted February 2, 2015 Yah, I know, if you look close it's a FP33 and 2 411s, but if you squint, you can pretend its a 32 and a couple old 195's. I thought the 1940's headphones and the 70's 416t mic "suspension" were a nice touch though... The irony is that the kit in that picture (or a FP32 and 195's), would have a signal path that would still blow away the audio section of all the little dinky cams and DSLR's out there. Not to mention the RED. And a number of SONY's... The most important thing, though, is the string cutting into my neck. Cheers, Brent Calkin Quote Link to comment Share on other sites More sharing options...
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