10 questions for freelancing

Status
Not open for further replies.

Luis

Member
1.what's the best workshop you've ever been?,
2.has somebody been in the Sony training inst?
3.what's the best book and video that teach you all?
4.how to get the first gig as freelance 'for dummies'?
5.how much do you make as a freelance, per month.?
6. do you need to take a workshop or be member of nppa to be hired by the networks?
7. how to get a job as a freelance for big networks?, what camera and equipment do you need?
8. what NLE do you know?
9.beside this one, what's the best web sites and forums related that you visit, even digital cinematography?
10.what equipment do you have or suggest to buy?
 

Douglas

Well-known member
I don't ahve much time tonight, so I'll be quick.

1.what's the best workshop you've ever been?
None.

2.has somebody been in the Sony training inst?
Not me.

3.what's the best book and video that teach you all?
None. I prefer to read several industry magazines each month to keep up to date. Most video/TV books are out of date before they are published. For learning about lighting, composition, and basics of photography I suggest any good still photography book. There's lots of good ones. Go to B&N and get one that looks good to you.

4.how to get the first gig as freelance 'for dummies'?
Work as a grip, PA, audio-tech (no offense audio guys) or other entry level position until you have the experience and contacts to know what is going on. If you've never worked alongside an experienced DP on high-end shoots, how would you know what to do or what is expected of you even if you landed a gig? Get experience and WATCH others work.

5.how much do you make as a freelance, per month.?
A good freelance 2-man crew works 12-20 days per month at $1200-$1500 per day. You do the math.

6. do you need to take a workshop or be member of nppa to be hired by the networks?
Nobody cares about that stuff. Do you have the gear? Do you have the experience? How much do you charge? Can you be there on time? That's about it in a nutshell. Clients don't care about NPPA or workshops. In fact, while attending a workshop might be a good idea, I wouldn't tell clients about it. Makes you sound inexpereinced -- even though that is not necessarily true. We can all learn something new.

7. how to get a job as a freelance for big networks?, what camera and equipment do you need?
There are exceptions, but I'll wager that most freelancers do not make the bulk of thier income from network work. Some do, but most do not. If your're going to chase network work right out of the gate -- you will fail. I guarantee it. The networks have their stable of trusted shooters and you aren't going to break in. Maybe once in awhile, but not often enough to put food on the table. Personally, I probably shoot about 15% for networks; 40% for cable; and 45% corporate. Any freelancer you talk to will have wildly different ratios.

Equipment? About $75,000-$125,000 investment in gear. But it ain't about the gear.

8. what NLE do you know?
Doesn't matter. Freelance shooters don't edit. We hand the tapes off and move on. That's the beauty of it.

9.beside this one, what's the best web sites and forums related that you visit, even digital cinematography?
For freelance shooters, technology and equipment doesn't change much so there's not much need to spend time conversing with other professionals. Cameras are cameras. Lighting is lighting. etc. They don't change much. It's not like we have to keep up with the latest software versions of NLE's, animation programs, etc. Very little useful information is conveyed here. I mean, who really needs another 40 posts about IMX vs. whatever. If you want to learn about techniques visit websites devoted to still photographers. www.sportsshooter.com is what I wish B-roll could be. Tons of info and very little debating over meaningless details. I don't think I've never seen a Nikon vs. Canon debate there, but X vs. Y debates are a big chunk of what B-roll has become.


10.what equipment do you have or suggest to buy?
You'll find that out when you've worked in the field and see what other people use and HOW they use it. It ain't about the gear.
 

Douglas

Well-known member
In re-reading my post I'm afraid I come off sounding too negative about B-roll. I think it is the best online resource we have, but I think it is geared towards beginners and local TV photogs. For freelance shooters, there's not much here unless you specically ask for it. Plus, there's only a very small group of freelancers that particpate. We fail miserabley in comparison to the www.SportsShoot.com message board.

Also, I'm as much guilty of participating in "debate" type threads as much as anyone.

Magazines I read every issue include: Videography, American Cinematographer, Millimeter, Film & Video, TV Week, TV Technology, Video Systems, AV Multimedia Producer, Outdoor Photographer, NPPA Magazine, Popular Photography, Camera Arts, and a few others I'm forgetting about.
 

HDTV

Active member
1.what's the best workshop you've ever been?

None

2.has somebody been in the Sony training inst?

Nope

3.what's the best book and video that teach you all?

This isn't a book learning business. You have to get your hands dirty and learn on the job.

4.how to get the first gig as freelance 'for dummies'?

Hook up with other freelancers...work as a grip for a while to learn the business. DO NOT try to sell yourself to their clients, or your career will be over before it starts.

Sign up with some crew booking companies and get listed on some internet crew listing services, such as Mandy.com

5.how much do you make as a freelance, per month.?

You make what you need to make in order to stay in business. The lower your expenses, the less income you need to make.

6. do you need to take a workshop or be member of nppa to be hired by the networks?

No...they could care less if you are a member of NPPA.

7. how to get a job as a freelance for big networks?, what camera and equipment do you need?

High-end Beta SP remains the standard...for now. I can't predict the future, so I wouldn't presume to tell you what format you could by now that will still be in demand five years from now.

Try hooking up with your local affiliates. If the network can't find someone for a shoot, they'll call the affiliate. That's probably your best "foot in the door" strategy.

8. what NLE do you know?

I have a Final Cut Pro system, and I can work an Avid. BUT...post-production is a totally different business than ENG/EFP. No one at the nets will expect, or want, you to edit what you shoot.

9.beside this one, what's the best web sites and forums related that you visit, even digital cinematography?

Do a Google search for what you need. You'll probably find it.

10.what equipment do you have or suggest to buy?

I suggest you buy: NOTHING.

Freelance for a year, or two or three...build up a client base. When you're spending more than
$ 2,500 per month on rental gear, then start thinking about buying.
 

HDTV

Active member
Douglas:

I think it's totally up to us to make this forum valuable or not.

I agree that the seemingly endless discussions of 4:2:2 versus 4:1:1 compression standards (or whatever)is pretty much a waste of time.

Do you have any ideas on how we can make this space a more worthwhile place to exchange ideas?

I think we're facing some unique challenges right now, and I would like to think we can turn this into a place where our shared experiences could benefit us all.
 

Thomas

Well-known member
1. Best workshop: Rockport, Maine, film lighting with Stephan Lenar (I think that's his name. He DP'd "Badlands", "Caddy Shack" and others) as instructor.

2. No to the SONY training.

3. Best book I've read was "Electronic Cinematography" by a guy named Peterson. It's out of print and kind of old but it still is relevant and very very good.

4. First freelance gig? I made a corporate tape about why it was wrong to steal from the cash register at some small pharmacy chain. The year was 1980 and I shot it on 3/4". I charged $1500 and made probably $1/hour when you add it all up. I had an acute anxiety attack during shoting as the V.P. of the company stod next to me wanting to talk about the budget as we tried to shoot the stupid thing.

5. Per month? Doug's math is right in the ballpark. What's missing is your individual expenses. Those are the variable. It isn't what you make so much as it is what you spend. And, what you spend can also dictate what you make since it correlates to what you own for gear and what you own for gear correlates to what you are able to do upon request to some degree.

6. I am not an NPPA member. I have never taken one of their workshops.

7. Network freelancing goes like this: Base package daily rate is between $500 and $550 per day depending on the network. "Extras" such as wide angle lens rental and HMIs bring it up to about $700/day on average. You get between $300 and $350/8 hours base pay. Average day runs around $500/day. You need a top line Beta SP rig, a good audio package, one or two (more is better) HMIs, wide angle lens, grip gear and many small accessories. An SUV is de rigor as well. Investment of over $150,000 is about average.

8. I do not know NLE. I own a G4 with a cinema display. Haven't had the time to learn it yet. Soon.

9. This is a good website. None of them are great. The HD forum is probably the best but it is frequented by pains in the asses who are trying to be king of the hill. Same with almost every camera guy site out there: "I work at a higher level than you". Tough to get past that. Guys really need validation.

10. I suggest you buy a PD 150 or a Panasonic VX100 and a G4 or G5 and make your own documentaries about very important subjects. Have lots of integrity and don't sell out to anyone. Don't blink when corporate America tries to intimidate you. Work your rear end off being the best you can be. If you get somewhere doing that, the world will be your oyster. If you fall in the middle and are average like most of us, well, you haven't invested all that much and the gear may still have resale value on the secondary market.
 

Thomas

Well-known member
One last thing about getting better.

The only way for photographers to get better is to compare visual work and to study it and identify what is good and what isn't about it.

The internet isn't such a good place for that.

You really have to look at someone's tape to know who they are and what they are capable of doing. Typing words just isn't the same. But, when it comes to compression ratios, words are adequate.

I've always been better with pictures. Or at least I like working with pictures better than words.
 

Luis

Member
Thomas:
I suggest you buy a PD 150 or a Panasonic VX100 and a G4 or G5 and make your own documentaries about very important subjects
I was thinking the same, with the G5 and the new HD10U or ag-dvx100, making documentaries and corporate videos for very small biz...just wondering how much would you charge them?, I have no idea, even wedding or event coverage, I don't know how much are the fees.any one? :confused:

in the meantime trying to get into freelance too with your advices...
 

Lensmith

Member
Originally posted by luis:
1.what's the best workshop you've ever been?
None though I've heard the Maine workshops are good for learning the network magazine style of lighting as well as getting face time with network producers and freelancers.

Originally posted by luis:
2.has somebody been in the Sony training inst?[/QUOTE]

No I haven't and I don't know anyone that has besides a few maintenance engineers.

Originally posted by luis:
3.what's the best book and video that teach you all?
I don't know of any book about how to freelance. There is a series of video tapes called the Power of Lighting for Film and Video by Bill Holshevnikoff (1-800-340-1993) that have been recommended.

Originally posted by luis:
4.how to get the first gig as freelance 'for dummies'?
Pick up the phone and call as many companies and contacts as you can to let them know where you are and what kind of gear you have. It's also a good idea to see if there are any successful freelancers in your area that you might team up with to either work with them as a second camera or they might have a second camera package you could rent to make money for both you and them. However...I don't know of any freelancers who would rent out their own gear, second camera or not, without knowing you VERY well.

Originally posted by luis:
5.how much do you make as a freelance, per month.?
It depends. A very good month for me will see me making five or six thousand dollars. However that is not the norm. In fact during the month of March this year I didn't make a dime. Even from my bread and butter clients because everyone was focused on Iraq. That's when you have to live off your savings, work the phone to find other clients or take a vacation and hope you have work when you get back ;o)

The lean times are what makes or breaks freelancersf. Many do well as long as there is work but the first few times they hit a dry period they go broke. They can't make payments and go out of business. This is known as "the down side of freelance life". It's also a gutt check and many decide they'll trade freelance for a safe staff job. You never stop being a little afraid no matter how many dry spells you go through. The trick is to survive ;o)

Originally posted by luis:
6. do you need to take a workshop or be member of nppa to be hired by the networks?
Not at all. Being NPPA, with all respect to members of the group, means nothing when you are freelancing for the networks. However being a member of a union will be required if you work more than a certain number of days a month for a network. Don't join the union first. They will contact you and at that time you must join or face no more work for that particular network.

Originally posted by luis:
7. how to get a job as a freelance for big networks?, what camera and equipment do you need?.
Call them and find out what they want. Each one is different but usually the more toys you have the more interested they are in hiring you.

Originally posted by luis:
8. what NLE do you know?
None. The good paying network freelance jobs require you to shoot. Nothing more.

Originally posted by luis:
9.beside this one, what's the best web sites and forums related that you visit, even digital cinematography?
For me, B-Roll Online is the best site bar none. Many of the more experienced freelancers have helped me out with information that's saved me time and money. The other site you might want to check is www.tvcameramen.com which is no where near as good as B-Roll but does have interesting articles once in a great while. They don't update it very often. They do have a lot of freelance photog web pages listed that are interesting to check out to see what others offer and charge.

Originally posted by luis:
10.what equipment do you have or suggest to buy?
I suggest you buy as much quality SUPPORT gear as possible at first. Good lights, audio, maybe even a tripod. Wait to buy a camera until you know what format is wanted/needed by the clients in your area. Usually you can rent a camera easily. Having your own quality support gear will be what makes the difference between you and the next freelancer as you both try for the same job.
 

Luis

Member
thanks Lensmith..

what do you think about this plan:
I was thinking..., with the G5 and the new HD10U or ag-dvx100, making documentaries and corporate videos for very small biz...just wondering how much would you charge them?, I have no idea, even wedding or event coverage, I don't know how much are the fees.any one?

...in the meantime trying to get into freelance too with your advices...
and what is in the 'support gear' that you advice me to get?, I mean, what kind of lights, audio,feautures?, any brand? or web site recommended to get it?
:cool:
 

Lensmith

Member
Originally posted by Luis:
thanks Lensmith...what do you think about this plan...I was thinking..., with the G5 and the new HD10U or ag-dvx100, making documentaries and corporate videos for very small biz...just wondering how much would you charge them?, I have no idea, even wedding or event coverage, I don't know how much are the fees.any one?

...in the meantime trying to get into freelance too with your advices...
I want to be very clear and not appear negative.

Put your gear questions aside for a moment. You have other more important things to consider before you spend one dime on equipment.

I'm in an area where the costs and rules of business in many ways are very different from someone based out of the United States. You need to sit down and do some math.

How much do you need to make to live?

Are you single or do you have others who rely on you for support?

What are your BASIC costs for survival.

Housing costs?
Vehicle?
Insurance?
Food and water ;o)

Then you have to be VERY honest with yourself.

What kind of money is in your bank account now?

That will tell you what you can afford to buy as well as how long you can last without working (and still paying all your bills) before you "fail". I mean "fail" in the nicest terms ok?

Be honest with yourself again. Do you have any clients willing to hire you tomorrow and put you right to work?

What level of quality are they willing to pay for?

Add up the hard numbers that allow you to survive and keep up with the bills.

Answer the client question and figure how many days a month you would REALLY work.

Divide the days of work number into the total number of the bills you need to pay.

That's how much you need to charge a day to work but that is your BOTTOM LINE number and you should remember that leaves nothing for you to put in savings...so add a little bit on top of that day rate figure. How much is up to you and the realities of your local business climate.

Miami is a good market but there are also a ton of established freelancers based there already.

There is no day rate that works for every location. It's nice to think you'd get paid the same as a freelancer living in New York or LA but that's not reality. Especially if you haven't built a client base and reputation yet.

If the numbers don't look right to you then you have to do something to make them work.

Get more clients?

Cut down on your bills somehow?

Rent gear instead of buying your own?

Maybe you need to relocate to where there is a larger client base but that throws all your numbers off and increases you risk of failure.

It's easy to make a list of all the different kinds of camera and support gear. We all have a wish list but again the reality of your clients needs, as well as your own, should be considered before a purchase. The truth is there is always something newer or better coming out.

I don't know of a single freelancer who hasn't had to go threw some very hard times...no matter how long they've been working. In freelance you are always looking for the next job. ALWAYS! You can never count on one company or client giving you all of your work forever. Someone else will always come along and try and undercut you no matter how cheap your day rate is. Lots of companies change their attitude about freelance hires due to changing economics. You have to be ready to deal with all these possibilities if you want to survive.

Are you looking to freelance until you are at a typical retirement age? Are you looking to freelance only for a few years and then do something else?

As you can tell the only one who knows these answers is you. You have to make a realistic plan and then act on it...but always knowing no plan is perfect.

The best advice I ever got when I started was before you buy anything, have a financial safety net. Money to carry you during the times you won't work. Don't kid yourself into thinking that will never happen. It will. Plan for it. Usually that means having enough money in the bank to live for three months with no work.

I think you'll find all of us at one time or another have hit near bottom freelancing. That's when you have a real gut check about how good you are and if this is the life you really want to pursue.

Nothing lasts forever. That includes good times...and bad times ;o)

Lastly...freelance is a business. Be ready to do more than just shoot and edit. Now you're also the accountant, salesman and bill collector. Like any business it takes anywhere from three to five years of real struggle to make any business work whether it's in television or some other field.

It's great to be your own boss but when things go wrong there's no one else to shoulder the blame except yourself. Plan as well as you can NOW for every possibility and think long term.

Good luck ;o)
 
I

imported_blank

Guest
Originally posted by Luis: Hi, I'd like to be a TV News cameraman, what shoul I do?
Hi Lois, If you have no previous video production experience then In my opinion jumping in and buying a PD150 / G5 is a very very bad idea. Although there are people that are natural shooters-editors-producers, the majority of people will not know what to do at first. It is not worth risking ruining your name before you even have a name in the biz. Besides you need sound and light gear as well. You also have to have some business and people skills.

If you have no video experience then I would suggest trying out your local community access television. Not sure about Miami but I do know some cities have really nice set ups. Manual gear, lot's of lights, sound, stages etc. Most cable access operations are willing to take in newbies and teach them the basics like composure including proper headroom, face space, proper panning and tilting, holding your shot etc.

They will also teach you basic lighting skills. Further down the road you will learn about depth of field, how different colour temperatures reacts with video etc. You will learn what proper exposure looks like on the waveform and stuff like that.

You will learn how to properly adjust hydraulics. Doing multi-cam shoots using live to tape and multi-cam shoots using time code. They will teach you how to shoot for the editing room using b-roll cut always, wide-medium-close etc. Laying video on top of audio and laying audio on top of video. You will learn when to use omni-directional mics and when to use uni-directional mics.

That's just the tip of the iceberg.

This doesn't even cover the "journalism" or "business" part of things. To get an idea on this part of the biz, you may try stringing. All you really need to start off is a consumer camera, top light, external mic and a scanner. Don't be surprised if Miami already has established stringers though and never low ball any of them.

If you decide to try the cable access and stringing route then after you get the hang of things the best piece of advise you got here so far is from Douglas.

Originally posted by Douglas:
Work as a grip, PA, audio-tech (no offense audio guys) or other entry level position until you have the experience and contacts to know what is going on. If you've never worked alongside an experienced DP on high-end shoots, how would you know what to do or what is expected of you even if you landed a gig? Get experience and WATCH others work.
If you try that out then for your next step I suggest you take some business related courses. You could by-pass all my advise and simply try getting an internship at a station. I know absolutely no one that just jumped into big time freelancing and I've been involved with video since 1980.

Again I say this sincerely:
Without any experience or connections -- jumping in and buying a PD150 and Laptop edit is a very bad idea in my opinion. (just one opinion - that's all)

(Good luck to you)
 

cameragod

Well-known member
In the past I have met people who have jumped straight into big time freelance work. Usually a relative dies leaving them a pile of cash and thinking they would like to be a cameraman they go out and buy a good SP kit setup and with no other experience launch themselves onto the freelance market. What usually follows over the next two years is a progression of monumental screw-ups that end with them unable to get work anywhere and a reputation that will dog them forever.
Now you don’t need to wait for a wealthy relative to die. You can buy a PD150 and a G5 and start building a bad rep and destroy your future career straight away. Cool. That said if you are thinking of buying a PD150 to practice in your own time wellll that is different but I would still worry about being thought of as the kid with the toy camera. That sort of tag just doesn’t go away.

Go work for someone. Make your mistakes learning on their time and their kit. Make contacts and build the right reputation.
 

dinosaur

Well-known member
1.what's the best workshop you've ever been?,
a.I have to agree that the Maine Workshops lighting course is one of the best seminars I've attended. It gave me a whole different perspective on lighting.
b. The 5 day Steadicam Workshop. It taught me how the rig really works, but to be a good Steadicam Op you must practice a lot. Attending the school does not make you a skilled operator. It just gives you a basic feeling for how it works and how to use it. Its a learned finesse that takes constant practice with the rig to make oneself marketable as a decent operator.

2.has somebody been in the Sony training inst?
Not really worth it. Unless you are a beginner and the beginner courses at the Maine Workshops are much better than the Sony school.

3.what's the best book and video that teach you all?
Not a book, but a great series of instructional tapes:
Power of Lighting Videos

6. do you need to take a workshop or be member of nppa to be hired by the networks?
No, it does not help at this level. Everything depends on your reputation gained by word of mouth and CONNECTIONS, CONNECTIONS, CONNECTIONS.

7. how to get a job as a freelance for big networks?, I worked 5 years on net staff before I went freelance. Made many valuable contacts. This business is all about CONTACTS, marketing yourself and working your way up in accordance with your level of skills and talent. Consistancy is a big item. Shooting, good solid video on EVERY job, without excuses is the key.
Adaptabilty in style helps give the client the look they are paying you to create. Great interpersonal and communication skills are a must in dealing with your clients. You're only as good as your last job, so every job requires 150% of your efforts.
what camera and equipment do you need? Depends on what and who I'm working for. Its now running about 95% Betacam SP.

8. what NLE do you know?
Apple FCP
 
Status
Not open for further replies.
Top