Helping Hands from 2006

David Perrine · June 17th, 2006, 06:39 PM

What I meant by gross revenue is whatever WE make off the project BEFORE taking out expenses. For instance: we sell the project for a flat 50,000.00 to a cable tv channel: percentages are taken out of THAT initial figure, not that figure minus equipment costs, rental fees, gas and all the other expenses involved in making the film. If we were to pay to have it shown and we returned a loss on that, that is OUR fault due to poor judgement, not the fault of the talent. They deserve a percentage of what we earn from the film, period. If we pay 1000.00 to get the film shown and we only get 1.00 from ticket sales, that 1.00 still gets divided up and everyone gets their fair share.

Ronald Lee · June 18th, 2006, 11:18 AM

Hi there,

Would you like to learn how to meet and attract women? From the worlds greatest seducers and pickup artists? And are you a camera operator or boom operator looking to make your mark in the documentary/film world? Then you will be interested in reading this. I am making a documentary about this topic and am looking for hire some crew in the Montreal area.

I am seeking an energetic camera operator with his own equipment for a documentary shoot I am doing in Montreal from Thursday, June 29th until Monday July 3rd. You will have your own equipment, with ample batteries, on camera light's, stabilizer, tripod, etc.... I prefer that you have a Sony PD170/150 but may make an exception for the Panasonic DV100A/B.

I am also seeking a tireless boom operator for the above said dates, with a short boom and a high quality shotgun mike. Even better if you have a field mixer, headphones, and a wireless transmitter.

This will be around the McGill and Plateau Mont Royal area and will be at various times and full days and nights.

In addition to entry into a special convention concerning the subject matter, an honorarium will also be offered for your services.

If you are interested, please email me your resume, equipment list, and a cover letter telling me more about yourself and why you would be good for this.

Thank you for reading.

Ronald. audio90@shaw.caNOSPAM

Tip McPartland · June 18th, 2006, 11:59 AM

When I first moved to LA to pursue writing (I now have a full-time development/writing job) I went to an entertainment law class at Beverly Hills Adult School. It was conducted by an attorney who headed business affairs at New Line (as I remember, but a big indie).

He explained the various forms of participation, and the levels of complexity that they can entail. One thing to remember is that each "gross" payout reduces not only the remaining "net" but also can reduce subordinate levels of gross payouts. Let's start with the types of payouts:

Net: After all real cash expenses (negative cost), distribution fees (30%), prints and advertising (huge but can be within the distribution fee above, I can't remember), overhead (30% for office rent, payroll etc. not directly linked only to the one project but still partially paid from every project's cash flow) and then the payouts to the various gross participants. What almost always throws net into a negative number if it isn't already is the superior gross participations.

Actual Break Even Gross: This is much like net as it includes distribution fees and overhead, but is paid before a net player gets his or hers. Another drawback is that the particpants who have the type of gross described next get paid first, and that eats into whatever pie, if any, remains here.

Cash Break Even Gross: This is not a bad participation. Only hard expenses specifically related to the project are subtracted from the income to determine this gross, usually not "soft" expenses like overhead and a flat percentage distribution fee. Our teacher/attorney said that many people have been burned thinking they had this kind of deal because it was "gross" but is was "actual break even gross" so they got nothing.

First Dollar Gross: Reserved for huge stars and major power players who have incredible clout. Their money is calculated just like it sounds, from the first dollar that comes to the studio, but still one must not confuse "box office" with what first dollar means. If there is a third party distributor, while neither this nor anything else can be expensed in a "first dollar," it still might reduce what actually comes to the studio or production company and these are the moneys that are considered first dollar.

Now let's look at how these things can play out. Say a movie makes $100,000,000 to the studio from theatrical distribution. Brad Pitt and Angelina Jolie each have a 10% first dollar deal.

Now we have $80,000,000. The negative cost of the film is $50,000,000. reducing the "cash break even" to $30,000,000.

There are 20 people who have cash break even deals for 2% and now get part of the $30,000,000. The each get $600,000 leaving $18,000,000.

But now the negative and overhead percentages kick in, and for simplicity say this includes P&A and make them each 33%. Let's say they are calculated against cash break even. Each would be $10,000,000. This would put the picture into the red for $2,000,000 obviously leaving nothing for both the actual break even people and the net people.

But then foreign and ancillary come in, another $100,000,000!

Brad and Angie get another $20,000,000. Hard costs for all this are $10,000,000 leaving $70,000,000. Now cash break even players kick in. They each get two percent of $70,000,000! That's a cool $1.4 million each. So bye-bye to $28,000,000, leaving $42,000,000.

Overhead might only be 10% of cash break even for these monies, ($7,000,000), but distribution fees for foreign and ancillary might be 50% ($35,000,000). That just happens to add up to $42,000,000, so again "actual break even" and net players get nothing from these monies either. The picture is still the original $2,000,000 in the red.

I took this class almost 20 years ago, so my memory is not reliable enough to take this to the bank. I may be so terribly in error as to have reversed the termes "actual" and "cash" break evens. But this is just provide some idea of how these things break down.

In the case of David's movie, "cash break even" grosses would be very fair for all the people getting participation, "first dollar gross" for everybody would be beyond generous to a fault.

Check with somebody who really knows about this rather than relying on what I wrote here before doing anything legal, I am not and cannot provide legal advice so that is certainly not what this is. In other words, DO NOT TAKE THIS EXPLANATION AS GOSPEL, it is probably erroneous in many ways, but is just to give people the idea of how it works.

IS THERE SOMEONE ON THIS LIST WHO CAN PROVIDE A DEFINITIVE EXPLANATION OF ALL THIS? IF SO, PLEASE DO.

Tip

Webb Pickersgill · June 18th, 2006, 11:56 PM

Hey everyone. Just wanted to throw a shout out to the local Phoenix, AZ area that I am available for Steadicam work. I am an accomplished DP, own a video production business, and I recently purchased a Steadicam ProVid2+ rig. I am now looking for work in the Phoenix area, so any referrals, small or large would be appreciated. Thanks!

Charles Huang · June 19th, 2006, 02:57 AM

Is it Ross Jeffries? Who the "world famous pick up artist"? I got 2 Canon XL2 and other equipments, what are your rate offer?

Seth Bloombaum · June 19th, 2006, 09:53 AM

In my very occasional experience, Swank has been like most of the large multi-location av cos... there's some good talent there, but it's sometimes hard to find if you're working with local hotel Swank. Their equipment has generally worked fine.

The group I work with no longer relies on local show operators, we always bring key positions with us. It's the only way we can approach the level of service we want to deliver to our clients.

***edit***
whoops, just realized that you were looking to be hired, not to hire Swank. Sorry, no experience other than what's above. Try it out. If it isn't right, don't stay!

Miklos Philips · June 19th, 2006, 02:08 PM

Hi guys,

Looking to get a list of JVC HD100 (or compatible JVC HDV cameras, like the new HD200) owner/ operators in the LA area for shoots, where I might need a 2nd camera. I have one coming up at the end of July.

Please send me your gear list, resume, link to reel, vitals stats, etc.

Thanks!

Heath McKnight · June 19th, 2006, 09:32 PM

Hey,

I can't pay, but if someone, on the 4th of July, wouldn't mind hanging out and allowing my cinematographer Jon Fordham to shoot fireworks with your Z1, I would not only be grateful, but I'd give full credit to you.

Please email me at hmcknight@mac.com for details, if you're interested.

THANKS!

heath

Chris Hocking · June 19th, 2006, 11:06 PM

In the end I made a 90 second film about failing to make two 90 second films. A bit self indulgent, but it actually worked out pretty well...!

Again, thanks for all your help and suggestions!

Alex Raskin · June 20th, 2006, 11:08 PM

Finishing Post on our new short soon, need a good quality/affordable facility suggestion for the screening party in July!

Jack Foster · June 22nd, 2006, 08:55 AM

Hi
I have a JVC HD100a, libec tripod, shure lav, umbrella lights, 100 watt on camera light, 11X27 green screen.
You can see my camera work online at http://www.jackfoster.com/camera.html
all done with the JVC GY300, haven't finished anything with the HD100a.
Jack

Pat Celec · June 22nd, 2006, 09:09 AM

Hi Anthony,

I've had my own wedding video business for over twenty years now....I'm in Bucks County, PA, but travel is ok. Not sure what your rates are, but have my own gear, shooting on Sony mini-dv, PD-150's. Also have two sons who have been doing this a long time.

Let me know. Pat Celec

Miklos Philips · June 22nd, 2006, 06:03 PM

Quote:

Originally Posted by Miklos Philips

Hi guys,

Looking to get a list of JVC HD100 (or compatible JVC HDV cameras, like the new HD200) owner/ operators in the LA area for shoots, where I might need a 2nd camera. I have one coming up at the end of July.

Please send me your gear list, resume, link to reel, vitals stats, etc.

Thanks!

OK. Since this project is still being formed here's an update from the Producers:

We have a low-budg production coming up at the end of July. Shooting from July 28-30 for 3 days. This production has some name people involved, including Josh Meyers in the cast (http://www.imdb.com/name/nm0583570/), Yana Gorskaya, Oscar nom editor as part of the editing team (http://www.imdb.com/name/nm1251520/) the Producers are only able to pay a small stipend of $50 / day for a second camera (plus meals/ credit/ copy). This is a 20 "mockumentary" production, shooting around Santa Monica and Beverly Hills. Not more than 10 hr days. Nothing fancy, we just need your second camera, tripod and you to operate it under the direction of the DP/ 1st camera. It will be submitted to festivals and used to raise money for the feature version. The production will re-hire the crew for the feature. (it's along the lines of "Waiting for Guffman")

Please send me your gear list, resume, link to reel, vitals stats, etc.

Thanks!

EMAIL TO pointzeropictures~at~gmail.com

Brian Duke · June 23rd, 2006, 01:43 AM

Hey guys, I just finished a short with the HD-100 and Mini35. You can watch here: http://hd-motionpictures.com/TwistofFate.html

And I wrote another short tonight, which I will be shooting in the next few weeks, but since I am not a DP, except for exteriors, I need someone who has a good sense of lighting. Either a DP or a really good experienced grip that can make the scenes look beautiful.

You MUST know the HD_100, and it would REALLY be a plus if you know the Mini35 and understand the lighting issues it has. (Needs more light).

The short is a off beat twisted comedy and really fun. Good for your real, and possibly a good start for much more work to come. The shoot should be no more than 2 days in ONE location. Interior.

I am looking for someone reliable, professional, easy going (No egos please), creative, and functional.

I have ALL The gear including sound, so you need only yourself and experience. Ideal, would be someone who can operate a steadi/glidecam.

Contact me at info@hd-motionpictures.com and put DP/GRIP in subject box. There will be some pay, but not a fortune since it’s coming out of my pockets =)

Duke

Tony Warren · June 23rd, 2006, 04:24 AM

Hey guys,

I'm currently looking for a "guerilla" skilled gaffer and 1st AC for my up coming XLH1 horror movie entitled "Skinned". Production dates are July 9th - July 15th in the Los Angeles area. There is some pay which is negotiable.

Although this is a low budget indie feature we are sag, insured, with permits. All who apply should know this is a guerilla style feature with limited equipment but a very laid back fun loving crew. There are also several visual and make-up effects.

The story is about a disfigured painter who tries to pick up on bueatiful woman through his drawings, and when he's rejected paints a portrat of his victim which then comes to life killing all in it's path.

If intrested or for more info you may contact Tony at fan2cwld1@aol.com

June 17th, 2006, 06:39 PM	#511
David Perrine New Boot Join Date: Jun 2006 Location: Glendale Arizona Posts: 20	Ewwww! That's GROSS!!! What I meant by gross revenue is whatever WE make off the project BEFORE taking out expenses. For instance: we sell the project for a flat 50,000.00 to a cable tv channel: percentages are taken out of THAT initial figure, not that figure minus equipment costs, rental fees, gas and all the other expenses involved in making the film. If we were to pay to have it shown and we returned a loss on that, that is OUR fault due to poor judgement, not the fault of the talent. They deserve a percentage of what we earn from the film, period. If we pay 1000.00 to get the film shown and we only get 1.00 from ticket sales, that 1.00 still gets divided up and everyone gets their fair share.

June 18th, 2006, 11:18 AM	#512
Ronald Lee Major Player Join Date: Jan 2004 Location: Vancouver, Canada Posts: 435	Montreal-Seeking DV Camera+Op & Boom Op for documentary on Seducing Women-June 29-3rd Hi there, Would you like to learn how to meet and attract women? From the worlds greatest seducers and pickup artists? And are you a camera operator or boom operator looking to make your mark in the documentary/film world? Then you will be interested in reading this. I am making a documentary about this topic and am looking for hire some crew in the Montreal area. I am seeking an energetic camera operator with his own equipment for a documentary shoot I am doing in Montreal from Thursday, June 29th until Monday July 3rd. You will have your own equipment, with ample batteries, on camera light's, stabilizer, tripod, etc.... I prefer that you have a Sony PD170/150 but may make an exception for the Panasonic DV100A/B. I am also seeking a tireless boom operator for the above said dates, with a short boom and a high quality shotgun mike. Even better if you have a field mixer, headphones, and a wireless transmitter. This will be around the McGill and Plateau Mont Royal area and will be at various times and full days and nights. In addition to entry into a special convention concerning the subject matter, an honorarium will also be offered for your services. If you are interested, please email me your resume, equipment list, and a cover letter telling me more about yourself and why you would be good for this. Thank you for reading. Ronald. audio90@shaw.caNOSPAM

June 18th, 2006, 11:59 AM	#513
Tip McPartland Major Player Join Date: Nov 2005 Location: Crestline, California Posts: 351	Gross revenues... When I first moved to LA to pursue writing (I now have a full-time development/writing job) I went to an entertainment law class at Beverly Hills Adult School. It was conducted by an attorney who headed business affairs at New Line (as I remember, but a big indie). He explained the various forms of participation, and the levels of complexity that they can entail. One thing to remember is that each "gross" payout reduces not only the remaining "net" but also can reduce subordinate levels of gross payouts. Let's start with the types of payouts: Net: After all real cash expenses (negative cost), distribution fees (30%), prints and advertising (huge but can be within the distribution fee above, I can't remember), overhead (30% for office rent, payroll etc. not directly linked only to the one project but still partially paid from every project's cash flow) and then the payouts to the various gross participants. What almost always throws net into a negative number if it isn't already is the superior gross participations. Actual Break Even Gross: This is much like net as it includes distribution fees and overhead, but is paid before a net player gets his or hers. Another drawback is that the particpants who have the type of gross described next get paid first, and that eats into whatever pie, if any, remains here. Cash Break Even Gross: This is not a bad participation. Only hard expenses specifically related to the project are subtracted from the income to determine this gross, usually not "soft" expenses like overhead and a flat percentage distribution fee. Our teacher/attorney said that many people have been burned thinking they had this kind of deal because it was "gross" but is was "actual break even gross" so they got nothing. First Dollar Gross: Reserved for huge stars and major power players who have incredible clout. Their money is calculated just like it sounds, from the first dollar that comes to the studio, but still one must not confuse "box office" with what first dollar means. If there is a third party distributor, while neither this nor anything else can be expensed in a "first dollar," it still might reduce what actually comes to the studio or production company and these are the moneys that are considered first dollar. Now let's look at how these things can play out. Say a movie makes $100,000,000 to the studio from theatrical distribution. Brad Pitt and Angelina Jolie each have a 10% first dollar deal. Now we have $80,000,000. The negative cost of the film is $50,000,000. reducing the "cash break even" to $30,000,000. There are 20 people who have cash break even deals for 2% and now get part of the $30,000,000. The each get $600,000 leaving $18,000,000. But now the negative and overhead percentages kick in, and for simplicity say this includes P&A and make them each 33%. Let's say they are calculated against cash break even. Each would be $10,000,000. This would put the picture into the red for $2,000,000 obviously leaving nothing for both the actual break even people and the net people. But then foreign and ancillary come in, another $100,000,000! Brad and Angie get another $20,000,000. Hard costs for all this are $10,000,000 leaving $70,000,000. Now cash break even players kick in. They each get two percent of $70,000,000! That's a cool $1.4 million each. So bye-bye to $28,000,000, leaving $42,000,000. Overhead might only be 10% of cash break even for these monies, ($7,000,000), but distribution fees for foreign and ancillary might be 50% ($35,000,000). That just happens to add up to $42,000,000, so again "actual break even" and net players get nothing from these monies either. The picture is still the original $2,000,000 in the red. I took this class almost 20 years ago, so my memory is not reliable enough to take this to the bank. I may be so terribly in error as to have reversed the termes "actual" and "cash" break evens. But this is just provide some idea of how these things break down. In the case of David's movie, "cash break even" grosses would be very fair for all the people getting participation, "first dollar gross" for everybody would be beyond generous to a fault. Check with somebody who really knows about this rather than relying on what I wrote here before doing anything legal, I am not and cannot provide legal advice so that is certainly not what this is. In other words, DO NOT TAKE THIS EXPLANATION AS GOSPEL, it is probably erroneous in many ways, but is just to give people the idea of how it works. IS THERE SOMEONE ON THIS LIST WHO CAN PROVIDE A DEFINITIVE EXPLANATION OF ALL THIS? IF SO, PLEASE DO. Tip Last edited by Tip McPartland; June 18th, 2006 at 05:25 PM.

June 18th, 2006, 11:56 PM	#514
Webb Pickersgill Major Player Join Date: Jun 2005 Location: Louisville, CO Posts: 204	Available: Steadicam Operator in Phoenix, AZ Hey everyone. Just wanted to throw a shout out to the local Phoenix, AZ area that I am available for Steadicam work. I am an accomplished DP, own a video production business, and I recently purchased a Steadicam ProVid2+ rig. I am now looking for work in the Phoenix area, so any referrals, small or large would be appreciated. Thanks! __________________ Webb Pickersgill Bassline Digital, LLC

June 19th, 2006, 02:08 PM	#517
Miklos Philips Regular Crew Join Date: Feb 2006 Posts: 104 Images: 12	JVC HD100 Owner-operators wanted in LA Hi guys, Looking to get a list of JVC HD100 (or compatible JVC HDV cameras, like the new HD200) owner/ operators in the LA area for shoots, where I might need a 2nd camera. I have one coming up at the end of July. Please send me your gear list, resume, link to reel, vitals stats, etc. Thanks! __________________ ........................... Miklos Philips Producer-Director Point Zero Pictures http://www.pointzeropictures.com

June 19th, 2006, 02:57 AM	#515
Charles Huang New Boot Join Date: Jan 2006 Posts: 8	Is it Ross Jeffries? Who the "world famous pick up artist"? I got 2 Canon XL2 and other equipments, what are your rate offer?

June 19th, 2006, 09:53 AM	#516
Seth Bloombaum Inner Circle Join Date: Sep 2003 Location: Portland, Oregon Posts: 3,420	In my very occasional experience, Swank has been like most of the large multi-location av cos... there's some good talent there, but it's sometimes hard to find if you're working with local hotel Swank. Their equipment has generally worked fine. The group I work with no longer relies on local show operators, we always bring key positions with us. It's the only way we can approach the level of service we want to deliver to our clients. *edit* whoops, just realized that you were looking to be hired, not to hire Swank. Sorry, no experience other than what's above. Try it out. If it isn't right, don't stay!

June 19th, 2006, 09:32 PM	#518
Heath McKnight MPS Digital Studios Join Date: Apr 2003 Location: Palm Beach County, Florida Posts: 8,531	Need a Z1 in New York City, 4th of July Hey, I can't pay, but if someone, on the 4th of July, wouldn't mind hanging out and allowing my cinematographer Jon Fordham to shoot fireworks with your Z1, I would not only be grateful, but I'd give full credit to you. Please email me at hmcknight@mac.com for details, if you're interested. THANKS! heath __________________ My Final Cut Pro X blog

June 19th, 2006, 11:06 PM	#519
Chris Hocking Major Player Join Date: Dec 2005 Location: Melbourne, Australia Posts: 595	In the end I made a 90 second film about failing to make two 90 second films. A bit self indulgent, but it actually worked out pretty well...! Again, thanks for all your help and suggestions!

June 20th, 2006, 11:08 PM	#520
Alex Raskin Trustee Join Date: Sep 2003 Posts: 1,435	Screening HD in NYC? Finishing Post on our new short soon, need a good quality/affordable facility suggestion for the screening party in July!

June 22nd, 2006, 08:55 AM	#521
Jack Foster Regular Crew Join Date: Mar 2004 Location: Los Angeles Posts: 41	JVC HD100a Owner Hi I have a JVC HD100a, libec tripod, shure lav, umbrella lights, 100 watt on camera light, 11X27 green screen. You can see my camera work online at http://www.jackfoster.com/camera.html all done with the JVC GY300, haven't finished anything with the HD100a. Jack

June 22nd, 2006, 09:09 AM	#522
Pat Celec New Boot Join Date: May 2006 Location: Richboro, PA Posts: 11	Wedding Videogrpher Hi Anthony, I've had my own wedding video business for over twenty years now....I'm in Bucks County, PA, but travel is ok. Not sure what your rates are, but have my own gear, shooting on Sony mini-dv, PD-150's. Also have two sons who have been doing this a long time. Let me know. Pat Celec

June 23rd, 2006, 01:43 AM	#524
Brian Duke Major Player Join Date: Oct 2005 Location: Hollywood, California Posts: 899	Need a DP for short with HD-100 and Mini35 Hey guys, I just finished a short with the HD-100 and Mini35. You can watch here: http://hd-motionpictures.com/TwistofFate.html And I wrote another short tonight, which I will be shooting in the next few weeks, but since I am not a DP, except for exteriors, I need someone who has a good sense of lighting. Either a DP or a really good experienced grip that can make the scenes look beautiful. You MUST know the HD_100, and it would REALLY be a plus if you know the Mini35 and understand the lighting issues it has. (Needs more light). The short is a off beat twisted comedy and really fun. Good for your real, and possibly a good start for much more work to come. The shoot should be no more than 2 days in ONE location. Interior. I am looking for someone reliable, professional, easy going (No egos please), creative, and functional. I have ALL The gear including sound, so you need only yourself and experience. Ideal, would be someone who can operate a steadi/glidecam. Contact me at info@hd-motionpictures.com and put DP/GRIP in subject box. There will be some pay, but not a fortune since it’s coming out of my pockets =) Duke __________________ Visit me and my work at www.artofduke.com

June 23rd, 2006, 04:24 AM	#525
Tony Warren Regular Crew Join Date: Jan 2004 Location: los angeles california Posts: 42	1st AC and Gaffer wanted for XLH1 movie Hey guys, I'm currently looking for a "guerilla" skilled gaffer and 1st AC for my up coming XLH1 horror movie entitled "Skinned". Production dates are July 9th - July 15th in the Los Angeles area. There is some pay which is negotiable. Although this is a low budget indie feature we are sag, insured, with permits. All who apply should know this is a guerilla style feature with limited equipment but a very laid back fun loving crew. There are also several visual and make-up effects. The story is about a disfigured painter who tries to pick up on bueatiful woman through his drawings, and when he's rejected paints a portrat of his victim which then comes to life killing all in it's path. If intrested or for more info you may contact Tony at fan2cwld1@aol.com