OMB rates these days?
- Thread starter BluesCam
- Start date
Capt. Slo-mo
Well-known member
That's pretty open ended. Normally, I just charge a flat rate for my camera, lights, and accessories, unless it's a network news shoot, and then there are all sorts of add-ons possible.
I use my base rate and camera level as a benchmark. If the client wants to shoot on a specific platform that is significantly more expensive than my default camera, then I rent it and pass the rental cost along on the invoice, all lumped together as one day rate. However; if they want to use a similarly priced, but have-to-go-rent-it camera, then you can get pinched a bit.
You mentioned one man band, but they've already hired audio, so it's not really a OMB situation. But generally, I charge the same day rate for OMB, even if I have to string a mike. But I always try to steer them into hiring audio, unless it really is as simple as a single person interview.
I use my base rate and camera level as a benchmark. If the client wants to shoot on a specific platform that is significantly more expensive than my default camera, then I rent it and pass the rental cost along on the invoice, all lumped together as one day rate. However; if they want to use a similarly priced, but have-to-go-rent-it camera, then you can get pinched a bit.
You mentioned one man band, but they've already hired audio, so it's not really a OMB situation. But generally, I charge the same day rate for OMB, even if I have to string a mike. But I always try to steer them into hiring audio, unless it really is as simple as a single person interview.
What you "charge" and what the client pays aren't always the same thing. Some clients will accept your rate and some clients say, "this is what we pay"(could be more, could be less) and it's up to you to accept that or not. That being said, my "standard rate/opening bid"(and also what one of my clients just went back to on their rate card) for one-man HD is $1800. $2300 for two-man. This is a 2/3" HD "fully stocked" camera package that I provide. I have no plans of charging less for my C300, either. Yes, the body cost less than my VariCam, but factor in the "accessories" to make it useable, the lenses and how much harder it is to shoot with... Why should you charge less?
Capt. Slo-mo
Well-known member
Because a lot of clients who were paying $1750-$1800/day for an HDCam when the body cost $90K and you had to put a $25k lens on it, plus everything else you show up with, today balk at paying the same day rate for a $15K camera.
Especially when they can get "that 5D look we had in the last project" from a recent film school grad with a $5K camera package who will work for peanuts on a 14 hour day.
Especially when they can get "that 5D look we had in the last project" from a recent film school grad with a $5K camera package who will work for peanuts on a 14 hour day.
Cameradude
Well-known member
Great question that no one will give you a straight up answer on...except me.
In my market, OMB rates are $1250-$1800. That's a wide range, but it is what people are paying and what guys are working for. Trust me, I have my spies that inform me of whats going on and what people are REALLY paying and working for.
My gear is an HDX900 and a C300, when you are working with "bigger" or "smaller" cameras the rate will be $200-$500 more or less.
For the next three days, I'm on the upper end of the "rate range"; a national client looking for quality production without problems. Next week I have a couple of days in the middle rate range with a regular client. Two weeks ago I was on the bottom end with a client that did not have a ton of dough to blow and was a bit limited on budget, but it was an easy shoot and we were done in four hours; half days work for a full days pay!!
The name of the game is to be flexible, work with your clients, understand their budgets and constraints, and be in business 10-20 years from now. Don't become a prima-donna and think that just because one client pays you $1600 a day that everyone will, but also realize that some clients will pay more and expect more if you are able to deliver the goods. Each market has a top end and a bottom end price range, and working within that range is the key to success and longevity.
Remember that last sentence if you remember nothing else........
In my market, OMB rates are $1250-$1800. That's a wide range, but it is what people are paying and what guys are working for. Trust me, I have my spies that inform me of whats going on and what people are REALLY paying and working for.
My gear is an HDX900 and a C300, when you are working with "bigger" or "smaller" cameras the rate will be $200-$500 more or less.
For the next three days, I'm on the upper end of the "rate range"; a national client looking for quality production without problems. Next week I have a couple of days in the middle rate range with a regular client. Two weeks ago I was on the bottom end with a client that did not have a ton of dough to blow and was a bit limited on budget, but it was an easy shoot and we were done in four hours; half days work for a full days pay!!
The name of the game is to be flexible, work with your clients, understand their budgets and constraints, and be in business 10-20 years from now. Don't become a prima-donna and think that just because one client pays you $1600 a day that everyone will, but also realize that some clients will pay more and expect more if you are able to deliver the goods. Each market has a top end and a bottom end price range, and working within that range is the key to success and longevity.
Remember that last sentence if you remember nothing else........
My bodies were't $90K, but I still have $25K lenses on them... ; )
Cameradude is right, you have to be flexible today. But you don't have to be a doormat and give the farm away for free. A few years ago, a major client dropped their rates and honestly none of us were happy. Some flat out refused to work for the rate. About a month or so passed and they raised some of the low rates, but not to the previous rate. Now they have raised the rates officially(their rate card)(back to) to some of the highest in the industry. I can't speak for those that wouldn't work for those rates, but me and Cameradude are both still working for the clients and at VERY good rates.
Cameradude is right, you have to be flexible today. But you don't have to be a doormat and give the farm away for free. A few years ago, a major client dropped their rates and honestly none of us were happy. Some flat out refused to work for the rate. About a month or so passed and they raised some of the low rates, but not to the previous rate. Now they have raised the rates officially(their rate card)(back to) to some of the highest in the industry. I can't speak for those that wouldn't work for those rates, but me and Cameradude are both still working for the clients and at VERY good rates.
svp
Well-known member
My NX5U or similar small 1/3" chip camera I charge $850/day. HPX370, EX1 or EX3 is $1200. Any larger 2/3" chip camera it's $1550. That's for an 8 hour day with $125/hour rate for OT. That includes all other gear I have that I don't have to rent. I keep a steady flow of freelance work so the rates work for me. If they want a sound guy add $600 because that's what is pay anyone I hire.
BluesCam
Well-known member
Thanks for the great replies. It's very interesting to hear how all of you are pricing your services. I appreciate the sharing of your info. I agree that being flexible without becoming a door mat is important. Based on your input, I am definitely not overcharging anyone and that was my main concern. BTW, SVP, I wish I could get your rate for 8 hr. :>) and thanks for the in depth info Cameradude and everyone else. Thanks again, very helpful.
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svp
Well-known member
BluesCam,
Don't get me wrong, I've been passed over for jobs because of my 8 hour day where the producer wanted that rate for 12 hours. I just stand firm on 8 hours and tell them its non-negotiable. Fortunately for me I've got a solid reputation with several clients I've worked for in the past that continue to hire me because they know what they are getting and don't want to take a chance with someone else. Once you get your foot in the door with a client and prove yourself and they are satisfied, they'll likely always come back to you unless you just up and jack up your rates to a ridiculous level. My rates used to be lower but I've gradually increased them in small amounts over the past five years. I initially had them MUCH lower than anyone else because the considerably lower rate was what got my foot in the door for that first shoot so I could prove myself.
Don't get me wrong, I've been passed over for jobs because of my 8 hour day where the producer wanted that rate for 12 hours. I just stand firm on 8 hours and tell them its non-negotiable. Fortunately for me I've got a solid reputation with several clients I've worked for in the past that continue to hire me because they know what they are getting and don't want to take a chance with someone else. Once you get your foot in the door with a client and prove yourself and they are satisfied, they'll likely always come back to you unless you just up and jack up your rates to a ridiculous level. My rates used to be lower but I've gradually increased them in small amounts over the past five years. I initially had them MUCH lower than anyone else because the considerably lower rate was what got my foot in the door for that first shoot so I could prove myself.
svp
Well-known member
Run&Gun,
Really I just set that as my day from the beginning. The standard in America is an 8 hour day and a 40 hour work week. I feel like it should apply to us too. My day rate is 8 hours. If they want 10 then I'll work it but add $250 to that day rate. I've just stuck to it and while some potential clients did go elsewhere, most calls I get end up accepting it and I rarely do a day shoot that goes over 8 hours. I just feel as a freelancer I set the terms and rate that I'm willing to work for and when someone calls looking to hire me they can either accept it or call someone else. All I can say is its worked for me.
Really I just set that as my day from the beginning. The standard in America is an 8 hour day and a 40 hour work week. I feel like it should apply to us too. My day rate is 8 hours. If they want 10 then I'll work it but add $250 to that day rate. I've just stuck to it and while some potential clients did go elsewhere, most calls I get end up accepting it and I rarely do a day shoot that goes over 8 hours. I just feel as a freelancer I set the terms and rate that I'm willing to work for and when someone calls looking to hire me they can either accept it or call someone else. All I can say is its worked for me.
Weddings..
cyndygreen1
Well-known member
While you big guns are talking some pretty nice rates, those of us out in the sticks have to work with what we can. I hire out at $50 hourly (2 hour min) without gear. $300 for half day/$500 full day with basic gear. Of course I'm semi-retired, so don't have to hustle. If I did I suspect I'd have to head to a larger market.
Doesn't come close to your rates, but hey, neither does my gear. However, my experience in news is very deep and those who hire me never complain.
The problem is my area has low demand - only one producer in town who gets all the good gigs and we hooked up - and with SF only an hour away, any really big money pulls in production companies from that area.
There anyone else out there laboring away in a small(er) market?
Doesn't come close to your rates, but hey, neither does my gear. However, my experience in news is very deep and those who hire me never complain.
The problem is my area has low demand - only one producer in town who gets all the good gigs and we hooked up - and with SF only an hour away, any really big money pulls in production companies from that area.
There anyone else out there laboring away in a small(er) market?
The Thing on The Sticks
PRO user
One of the reasons I think all or nearly all still photographers and camera-people should be freelance. Unless you are learning the trade or being very substantially compensated.
svp
Well-known member
BluesCam,
For an OMB shoot the lighting and grip equipment is included in the rate. If its a very large shoot that requires more equipment, a grip, grip truck, etc, then I mark up everything 10% above my cost to rent and charge $300 per day per PA but pay the PA's $200/day. If its a shoot that requires more than two people (cam/sound) then I charge a $200 booking fee which is essentially me being paid to act like an executive producer and set everything up and hire people for the shoot. Cost of actors is passed on at my cost which varies depending on if the actors are in a union. Any location or permit fees are also just passed on without a mark up.
As far as lighting, I always do the lighting work myself. I know what I want and it's just faster if I do it. I don't spend hours and hours lighting scenes. To me that's wasting time. It should never take more than 30-45 min to light even the most elaborate scenes. That's why I never hire grips, only PA's to set up and break down lights, never to actually place and light a scene.
This is how I've done it but I don't follow any sort of industry standard so others probably charge very differently. I also completely avoid unions at all cost because they just create more headaches and slow everything down.
For an OMB shoot the lighting and grip equipment is included in the rate. If its a very large shoot that requires more equipment, a grip, grip truck, etc, then I mark up everything 10% above my cost to rent and charge $300 per day per PA but pay the PA's $200/day. If its a shoot that requires more than two people (cam/sound) then I charge a $200 booking fee which is essentially me being paid to act like an executive producer and set everything up and hire people for the shoot. Cost of actors is passed on at my cost which varies depending on if the actors are in a union. Any location or permit fees are also just passed on without a mark up.
As far as lighting, I always do the lighting work myself. I know what I want and it's just faster if I do it. I don't spend hours and hours lighting scenes. To me that's wasting time. It should never take more than 30-45 min to light even the most elaborate scenes. That's why I never hire grips, only PA's to set up and break down lights, never to actually place and light a scene.
This is how I've done it but I don't follow any sort of industry standard so others probably charge very differently. I also completely avoid unions at all cost because they just create more headaches and slow everything down.