Feature Film

[Giuseppe Palumbo]

So I was on Craigslist just going through some of the ads and saw that a company was looking for a production assistant, so i E-mailed them and Sent them my Resume and some of my work. Well, turns out they loved it and said They wanted to meet up about the Director of Photography spot. They already had someone which was actually the same DOP that worked on the film "Anchorman". They said I was right up there and would love to have me work with them. They said they have a budget of about 20k so far and part of the budget was going to be Buying a new XL2. I told them I had one and said thatd be perfect. I'm going to be meeting with them in the next week and have no idea how to be compensated.

Should I be payed hourly or daily? If I ask to much, could that be bad?
And how much do you think is a fair rate. If there using my Camera/tripod also

[Josh Bass]

First off, make sure this is legit thing. You got it off craigslist, so there's already an 80% chance that you'll never hear from anyone again, or that they'll contact you again with "our funding has fallen through, so at this time, we must cease production, but we will contact you as soon as something changes." How do I know? It's happened to me.

As for rates, I hear on these low budget things, people take pay cuts just to work on them, but they're probably not bringing their own equipment. Keep in mind, as a DP, you're probably going to have lots of meetings, scouts, etc. Factoring all that in, hell, say $500 day (make back some of your unpaid prep time). That's a day rate, only people people who I know of in the biz who work hourly are, like, cameramen at new stations. Most of the industry's based around day rates.

Also, get a contract. Try to get a lawyer to look at it. Protect yourself! Always beware when craiglist is involved.

[Travis Cossel]

I'm no expert in this area, but I would say charge whatever you feel would compensate you. In other words, if part of the reason you are doing this is to build your porfolio/experience, then I would use a reduced rate in determining my fees. If, however, you are looking for full compensation, then I think you should just put it to them. If they aren't happy with it, you'll find another job instead of being dissapointed the entire time because you 'settled'.

I would also write my contract so that a certain amount was always due up front.

[Josh Bass]

Yeah, I should've said that. However, if you use your own gear, experienced or not, you're entitled to charge for it, in my opinion. Should charge for it, rather. It's like they're renting it from you, dig? Around here, 3 chip miniDV cams go for $125-175 a day.

[James Emory]

I hate to sound negative but I think you just got duped! I hope that I'm wrong, but I think that you will not see one penny from this project. Are they referring to Anchorman with Will Ferrell? The DP's name on that is Thomas E. Ackerman. I would ask them what the name of the DP on that film was and if they can't answer immediately, run, don't walk away from this project! I would definitely get something up front, like half or have a contract that says you must get paid at the completion of each day. That way you only get screwed on the first day that they don't pay you and not for a whole week or month. Because after the first day of not paying you, that means they have run out of money and you won't see another penny no matter what they promise. This is a little extreme but if that happens just take the tapes from that day and tell them that you will be happy to return them when you receive your check and it clears the bank. What are they going to say? Come on now, they went from needing a PA to wanting you as the DP who doesn't have a resume anywhere near Mr. Ackerman's? Please report back to us about what happens. I would be real interested to know.

[Giuseppe Palumbo]

I think i may of explained a few things wrong. Let me try again, ha. They said they were going to use someone that worked on Anchorman, not the DP from Anchorman. They don't have the money for the film right now. They have 2-3 fundraisers lined up with the first one in March. They were looking for 2-3 PA's. Even though they didn't ask to see my work, I sent it to them, and they said they'd be interested in Having me work on something other then PA cause they could use the talent. The guy lives about 5 minutes away coincidentally and we will be meeting up sometime this week to talk about it more.

[James Emory]

Man, that's not a little, that's alot different than what you originally said. No matter what position you work, I bet you that there will be no money for anyone. Whenever I hear the words fundraisers or down the road, those are red flags that are on fire! The fact that he lives 5 minutes away means you won't have far to go to demand your money. I hope I'm wrong. Please let us know what happens.

I also have a few projects with million dollar budgets but here's the thing, I don't have the money yet either. But I'm sure it will appear if I think about it hard enough though. :O

Have you seen this thread? It's just full of posts like the one you answered. You can learn to profile these suspect jobs with this thread.

Ridiculous Job Offers & Demands
www.dvinfo.net/conf/showthread.php?t=33082

[Glenn Davidson]

This thread is too funny. More laughs than Anchorman!

Good Luck Giuseppe,

At 18 years old, you have a great opportunity to learn from all your creative experiences.

I know lots of professionals, from all types of careers who from time to time will work for less or no money, I am talking about DP's, actors, writers, directors, musicians, etc., and even attorneys. (pro bono-free)

When I ask them why, in most cases they say because they are so grateful to be doing what they love to do, and the money is an added bonus. I also have friends who are miserable who sit around complaining that no one ever calls them for work, and in the meantime they stay home letting their chops get rusty.

In the old days, everyone donated their time and talents as a way to learn the trade, get credits that lead to more work, and to establish great contacts.

I have friends today that are willing to fly from where they live, and pay for all their expenses to work with me, as I once worked for free for them, and I would still work for whatever they could afford.

(The two Hollywood Examples that come to mind are : (1) Robert Altman as in "The Player" and (2) Roger Corman, in several of his early B-movies)

Everyone has to find out for themselves what they can live with. It is 100% a personal choice. You do deserve to be compensated, for your talents and your equipment.

But I say, also have fun and let the money come as it may! Very few people ever get "Rich" and stay "Rich". So I hope you don't get too caught up in just the money.

For me it is the process of taking an idea and then see a bunch of people have a good time, bringing it all together and seeing it on any size screen.

Just my two cents.

[James Emory]

That theory has been discussed many, many, many times in that thread above. We have all done what you described and still do to some extent depending on the project. I am not in it for the money, I really like what I do. But I am heavily invested in equipment and cannot give it away, especially to strangers. The only issues I have with those kinds of posts are those that demand so much and especially from those that they don't even know. Everybody wants the best crew but if you can't afford it then you have to take what you can get. These jackasses that can pander to strangers and act like they are doing you a favor just make me and many others sick and want to vomick!! I'm trying to help this guy out and his second post was dramatically different from the first.

[Don Donatello]

keep a close eye on your XL2 ...

i looked at your site ... what stuck out for me on your video's was there's allot of TECHNIQUE in use !!! bottom line is somebody has editing chops !!!
if this reel came across my desk i would ask for more info about the editor.
so who is the editor ?

[Giuseppe Palumbo]

Im the editor. haha..i hope that wasnt a retorical question.

[Giuseppe Palumbo]

and by the way, sorry for confusing everyone. i wasnt trying to ask if it sounded shady but I was seeing how much you think fair compensation should be.

Giuseppe,

If this is a real feature film, then I would want to know if the script has been "broken down" meaning, how much have they budgeted for the movie, for above the line? DP? etc.

Is it SAG or non sag? Will it be deferred? Can I get some money up front and then some points on the back end, IF it ever get completed, and distributed.

Bottom line: I can ask for any amount I want, but if it is not in their budget, it isn't going to happen. I need to come to an agreement (contract) I can live with in the meantime. For all that, it will be up to you and the producer to sit down and negotiate.

Although you can produce a feature for 20K (under perfect conditions) on HDV/DV then let the distributor blow it up to 35 millimeter Film, realistically, a 20K budget does not amount to much. And then there is always the chance that if they get a big budget, then they may want to shoot it on film?

So many things to consider, so many things to learn, and sometimes such a steep (and expensive) learning curve. As we learn one aspect, we are able to devote more time to learning the next area of Film making.

But I will say you are well on your way, at 18 you ARE doing it. I look forward to seeing your future work

Cheers!

[Bob Costa]

Hey Welcome to DVInfo Mickey. You have some good contributions here in this thread and I second them.