Shooting with other people's gear.

[Stoney]

Anyone ever work on regular shows using that production comapanies' gear? I haven't been part of that world but am facing it with a reality-type show that is purchasing their own cameras (PDW-F350's). Makes sense for them, but I lose out on the equipment rental in my rate.

My question is, have any of you done long term shows like this (M-F, 5 days a week, for a few months) and gotten a respectable rate? What is respectable?

[Run&Gun]

As a general rule, I don't do SD shoots with gear that's not mine(I turned down a 3 day shoot last month because the prod. co. wanted me to use their camera). But, if it's nice gear, a good rate (at least what you normaly charge), and lot's of definete days, then it may be worth looking at. The downside, it takes two to three days shooting with someone else's gear to make what you normaly would with your own stuff (i.e., if you have to turn down 2 days with your gear, it's gonna take that whole week shooting with their stuff to even it out. With your stuff, you would have made the same and had 3 days off :) ).

Now, with that being said, I'm getting ready to go hop on a plane and shoot for three days with a friends Varicam. It's a decent rate(the prod. co. pays the normal labor rate), plus he kicks in extra money out of his own pocket. Notice I said I don't do SD shoots. HD is still negotiable, until I have to buy my own.

[freedom]

I've been doing a fair amount of HD where I get rental on everything but the camera. So the hit isn't as bad as just getting labor.
It all depends on how busy you are. Like R & G said, $400/day vs. $1100 per day is a big deal. 5 days pays $2000 vs. 2 days paying $2200.

[Icarus112277]

As one of the few non-shooters on here I don't own gear but freelance my skills out to many of the area networks/ production houses/ whoever wants to pay my rate... and it has its pros and cons like everything else.
Pros are- consistant available work, above average pay, no overhead, no maintenance issues (if something doesn't work at a job site call the house engineer- 'hey this don't work')/ no blame for faulty equipment, and a few others.
Cons- no nice equip rental rate, having to learn many many types of gear, not being able to troubleshoot gear beyond a certain level, and a few others, being dependent on a show or shows continuing, and a few others.

My rates are similiar to most camera ops rates in the area- 35-65 an hour depending on client/show/rep- specialty camera ops can get more.

[Matt Box]

I seem to be getting this a lot lately. Most of the time the client owns the varicam and various bits of gear. Sometimes I provide lights and other times I only get to charge for small items like tripods. What I am finding is most of these different clients seem to all be willing to pay at least $600 labor rate for a 10 hr day. The biggest problem is the gear and the sad state it's usually in, especially the light kits.

[F4 Fan]

Stoney,

Far be it for me to give you advice but here’s my two cents for what little it’s worth.

Maybe it was because I was raised by parents who lived through the depression and WWII, but the thought of any decent job as opposed to no job was deeply instilled in me. If you do the math it probably breaks down to be pretty even. Five days a week at 2-3k per week versus two to three days at your full rate also about 2-3k. Using your own gear you are left for several additional days each week to find work, surf the net, travel, what ever; great thing is that you are the one in charge of your schedule.

Providing strictly labor for a production company you’ll still make enough to pay the rent, eat, pay off the gear and save a little. Plus you make new contacts and who knows where those will lead in the future.

But what if it’s a slow period and the work isn’t there, then maybe the steady gig doesn’t sound so bad, beats doing live-shots for us that’s for sure. Your gear depreciates no mater what, and even though you can’t charge for equipment rental, at least you’re saving wear and tear on it.

Perhaps you can charge extra for incidentals like lights and audio gear, maybe you can work a meal per-diem or get money for mileage. One thing I’ve heard from one of the crews we regularly use is that they don’t charge for a 10 hour day. No one ever needs them for that long – their rate is for eight. Maybe you could float an eight hour day by the production company – at your regular labor rate of course, and see what they think.

F4

[Stoney]

Mr. F4, how are things? I am trying to decide what to do but have yet to see the production co's thoughts about my rate... I gave them a number that I think is fair and, though high to some, would be justified by the cost of insurance and long term commitment.

We will see where things end up. In the end, I still have two cams to rent or work outside the gig... so who knows?

[F4 Fan]

Mr. Stoney,

Glad you have three weeks to think about things because I just last night passed your name on to a guy who needs a crew for several days in Denver next week.

Got an email from the Worley gal who’s just finished up a Travel Network gig that has it’s premier in Jan. ’07. I haven’t heard from her in ages.

The new producer here is keeping me busy with interesting stories so life isn’t too bad.

Good luck and keep up the good work.

[Todio]

Why not double-dip? Hire yourself out and let a local gear rental house take your gear and rent it out when theirs are all out? Migt make a few bucks for you (provided they agree to cover insurance and maintenance while under their control)

Trew Audio does that here with soundies gear. I have friends who go on vacation and while they are away TREW rents out their gear to others and gives them a cut. Pretty Schweet deal.