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Most Flo’s are spectrum specific instruments and fail to provide the warmth of tungsten or HMI. If comfort is the issue, Flo’s would be my choice. If acquiring the best color saturation is the issue, then tungsten or HMI.
The Me-66 is the industry standard if you’re looking for a good ENG mic. It’s sturdy and reliable. I’ve used one since the ME88 was discontinued. I’ve made the choice to go Sennheiser and have never regretted it.
Does your computer have enough graphics card to handle HD?
Almost every hospitol has a PR department. Most are very accomodating. In fact, sometimes, they’re overly helpful. Take it from a former news videographer…never shoot in a private facility with ANY camera until you have permission. I know it is often a creed among some photojouranlist that "it’s easier to get forgiveness than permission", but save yourself the aggrevation and seek out the PR people. Unless you’re with Mike Wallace, they’ll generally grant you access and even give you a hand with the equipment.
I’m probably just lucky– and stubborn enough to stay PC. After a lot of research, I found that Avid Liquid 7.1 runs very well on a PC and after updating to 1 gig of ram and making all the necessary system adjustments, it’s never crashed on me. I always perform a defrag every week, keep peripherals to a minimum, virus scan once a week, run windows update and check for updates and upgrades from Avid. Other than that (knock on wood), Liquid runs like a champ—even the plug-ins.
The sad truth is — and this is a little embarrassing to admit– I’d consider running windows on a mac, but I don’t like Mac’s one button mouse.
I too have been in television production for along, long time and very experienced. But I’m here to tell you to chase your dream as we all did at one point or another. Considering the vast amount of people who shoot for years without any ‘usable, functional" knowledge of how to shoot, it isn’t a pre-requisite and you start by shooting.
The very first event I ever picked up a television camera and shot…AIRED! My training consisted of a news producer showing me where the "on/off switch" was, how to "white balance" and how to "focus". Other than that, the only other thing she told me was, "good luck."
Yes, good gear costs money, but you shouldn’t be too impressed with all the bravado that people tend to spew about how much stuff costs and which gear to buy.
Better to find someone doing it already, see if you can tag along on a couple of shoots and see if it’s for you. Then see if someone will mentor you for a while so you can develop some skills. Step into the shallow end and don’t spend one pennie before you’re sure this is what you want to do.
75% of my gear comes from E-Bay. It’s a trusted source for finding great gear at tremendous savings.
In short, pursue your dream with vigor. Don’t let anyone discourage you. Don;t be scared off with costs or lack of experience. Everyone had their "first shoot". Find a mentor. Learn everyday. And remember, video production isn’t rocket surgery. No one’s life hangs in the balance if you make a few mistakes. Learn from them and go on….like everyone else does.
All the best in our new career!
I just recently acquired the Sony VCL-HG0872 Wide conversion lens adapter. I’m very happy I held out for this product and not risk money on the cheaper Mercury Optic lenses found on E-Bay. There is no edge artifacting with the Sony adapter. It handles "zoom through" like I would expect and I found it on Amazon for an afforable price.
I’m glad to see so much conversation on this subject. It’s very important that as a community, the video production industry present a more united front on pricing. I am very up front about my rate card on my web site: http://www.dfwvideography.com. There is some information you’re seeking that is not on the site. If I travel for a client on one day and not shoot. I charge 50% of my lighting videographer rate and don’t charge for equipment rental but do charge mileage. If I travel and shoot on the same day, I charge for a full day with gear regardless of how long the shoot plus mileage and other expenses such as lodging, meals, parking, tolls, etc.
I worked for a large production company in Dallas for several years, hiring local crews and crews to shoot for our producers all over the country. My rates are very much in line with what I refer to as the "industry standard."
I make very few exceptions, but will always try to work with-in a clients budget. Sometimes I can and sometimes, not.
I have dealt with this issue before and found it’s in the sequence of how you wire into the break out box. A couple of re-boots seem to solve my problem and I am playing back from my Z1U.
I appreciate the comments and the bantor… I think it helps the general population to hear varying views.
I’ll quit the business before I give anything away. No one, not even the client, prospers from free anything. Besides, is anything really free? I just read something on the airlines recinding a fare increase over the week-end. Talk about an unprofitable industry! Just a $5 per one way fare increase initiated by Delta and matched by the other US carriers unraveld under pressure from foreign carriers.
The TV, video production and visual delivery business has been bleeding under pricing pressures as well.
I respect anyones business model and if giving away services tend to add more business, I’d like to hear more about it. My established clients wouldn’t dream of asking me to do anything free for them. In return, I can’t in good faith offer a free service to anyone else.
My post was more in line of how to price a very subjective product in a very subjective industry. My point was this: If there are people with video acquisition gear trying to drum up some business and they don’t know what to charge (which I believe is the crux of this thread) then my point is "What is your time and talent worth"? More than $5 an hour?
Back in the day when video production was seeing better days, I would often hear producers tell clients, "time, quality, money… pick two". I think it applies today as well. I shot a video christmas card for my wife and I last year. Spent 5 hours shooting and about 3 hours editing the project. A lot of people asked me what it would cost to shoot one for them next year. If I went by the rate card, it would cost $750+. I don’t think anyone would consider that a "value". So you have to ask yourself how much discounting of your talent can you withstand to gain the business. I won’t do them for $100 and I certainly won’t do them for free. Does anyone’s next door lawyer neighbor give away his service?
I’ll put a caboose on this very convaluted train of thought…
I say again…not everyone can afford video production and we shouldn’t discount till it hurts to earn business. We should earn business by providing a professional, valuable, creative service exceeding the customers expectations and offering that service at a "resonable price".
A very thoughtful, smart, well formed response. I’ve been self employed for 6 years. In broadcast, there is no question. This is what is charged. Entities realize that if someone charges less, it probably equates to less quality or unusable product and they just won’t take the risk.
That is not the case down at Ed’s Used Scuba Diving Equipment or Barbara’s Real Estate. Ed and Barbara don’t know anything about video. All Ed knows is that he wants to price a 30 second cable commercial for his business and Barbara–a 3 minute video of a property she has listed for sale. So Ed and Barbara have a preconcieved notion that a 30 second commercial or a 3 minute video should only take a few minutes to shoot and edit. Why should that cost more than $100?
When they learn everything that goes into shooting a commercial or a profile– the time, the resources, the quality, the questions… then Ed and Barbara have second thoughts and they should.
You’re so right, Hank about being a salesperson and the need to fully understand what you’re selling, the intrisic value and how to price your products.
Video production isn’t for everyone and not everyone can afford video production. It helps nobody to "give it away’ just because a client can’t afford it and you need a hundred bucks.
I can undercut anyone in town but it will only hurt me more in the long run to do it.
Gotta agree with NEGuy on his post. I had the same thoughts. Huge ego’s in the RE biz and personal profiles and such would go over well and really tie the video listings together. No such luck. You might as well be talking to a fire hydrant trying to explain the difference between "virtual tours" and "video profiles". And when you meniton costs, they just shut down.
Be patient! This will happen and in a big way. Please, please…don’t give it away.
I’d rather sit at home, clean my camera and eat dog food than shoot weddings. Speilberg could not please the bride-zilla’s. It’s a losing proposition every way you look at it. Nope. Not me.
I’m transiting from broadcast over to consumer/commercial video production and still use a very heavy duty Vinten carbon fiber tripod and "Vision 10" head. My Z1U looks a little out of place up there, but talk about stability. Still though, you can only be as stable as the floor beneath you. In my ENG days, I would have to shoot on risers from 60 yards away. Everyone knew and understood that when cameras were rolling, you just don’t move. Ever. For any reason.
I would suugest you rope off an area around the camera to eliminate anyone from causing shake to your tripod. Sometimes this works…sometimes not. Another thing is to take the hand towels, fold them to a thickness of about 2 inches and place those underneath each foot of the tripod. That adds some more shock absorbtion and might also help.
Now, lets’ talk about holding a camera steady in a helicopter…. On second thought, maybe we’ll do that another time.