Shooting some high end 35mm spec. commercials for my reel. Would like to find editor.
 

If there's an editor that would like to help cut/composite these spec's, let me know. There is no pay, just something top notch to put on your own show reel. Prefer someone skilled in commercial editing, has knowledge of compositing, and digital effects. Basically, a real artist. Prefer someone experiences, either a professional or on the cusp of being a professional (and looking for some things to put on his reel that pushes him there).

If you're interested, either PM me or send me an email to: greg@1stalliance.net

Please show me some samples of your work. I can also edit, but I'm not an artist at it.

I don't want to ruin your thread, and I really hope you'll find someone, and maybe you will, but if you want a real real professional, I don't think they are gonna do it for free...

And if you are working with 35mm it seems you have the budget to pay someone...

Best regards,

Need an HD editor and DVD authorer
 

Hey all,

I need an editor for my next short film. I'll need someone that can capture HDV footage (most likely from the JVC HD100U or the Canon XL H1), edit, color correct (nothing fancy), and then author a DVD Master.

Could you either recommend someone or if you do it yourself, I'd love to get some pricing (unless you are a very talented editor with a very nice system and want to get your name out there ;) )

Don't worry, you won't ruin the thread. It's possible I won't find someone that wants to do it soley for their reel, but I think it's entirely possible I will because it's a great trade off for someone.

Here's how I think about it. If someone came to me and said they were going to pay for a 35mm camera package, grip and electric, film stock, processing, telecine and color correction, handling all the casting, scheduling, and production duties, and then asked me if I'd direct it without pay, but could use it for my show reel, I would litterally jump at the chance. No money out of my pocket, and I could have a 35mm spec. on my reel. That's a deal I couldn't pass up.

That's what it will be for the editor. And I'm sure there are some editors that want to make the leap to the next level. Maybe having some better quality spec.'s on their reel with help them do that. My DP sure jumped at the chance to shoot these.

I also put an ad in Mandy. I'll let you know what kind of response. If I don't get any takers, I'll cut them myself.

Arizona No-Budget Comedy/Fantasy Film
 

Hi, I have been reading these forums for quite some time and have found them really helpful. Thanks to everybody who chips in on the conversations, it really helps us newcomers!
Well, At the risk of being added to the looong list of cheesy requests for unpaid talent, here is mine, LOL!

Current Status

On occasional weekends During the fall/winter of 2006/07 I am going to shoot a feature length mini dv format movie with XL1 cameras. I already have 2 cameras and 1.5 cameramen as well as minimal audio eqipment. I have three musical groups lined up for the sountrack: Freezepop, Leslie Fish and (probably) Yachay. We have been trying to contact Rasputina and The Arrogant Worms for additional tracks but have gotten no reply yet. I will be directing, producing, building props and running one of the cameras.

What We Need

A somewhat experienced sound person would help. Someone who already has a decent portable recorder would be ideal.
We are still short several key actors and many smaller parts.
We have most crew positions still open and everyone involved will probably be wearing multiple hats.
We need lots of props, but will be able to borrow most of those from the local SCA group which will also provide some of the extras.

Objective

To produce a niche film appealing to nerds, fans of swords and sorcery films and people fed up with daily life, specifically "office-space" type working conditions.
If we succede in creating a good finished product, we will pursue multiple avenues to turn that into cash, such as pitching it as a tv pilot, going direct to video, selling copies at Science-Fiction conventions, or whatever we can think of.

What We Are Offering

Screen credit.
1 meal or snack per shooting session.
2 (DVD+R) copies of the film. And an additional 2 (Regular DVD) copies if it is released commercially.
Main actors and Key crew will recieve from 1/2% to 1% of gross revenue from the film itself.
Minor actors and non-vital crew will not recieve financial compensation unless the film earns us over 50,000 US dollars, in which case they will each receive a 100$ payment.
Any crew members not already appearing on screen will be given small walk-through parts if they wish to appear on screen. (Peasant#6, Guard#12, etc.) It is nice to be able to point to yourself on screen and say "there I am!"

Thanks for considering supporting our project!

~David Perrine~

Questions?
E-MAIL: vikingwizard@GMAIL (dot) COM

WWW.OFFICEQUESTMOVIE.COM

1.5 cameramen? Did you hire a kid for those low angle shots?

1.5 Cameramen
 

LOL: One with experience and me: I'm basically inexperienced and do not rate as an entire cameraman.

Not a cheesy request...
 

As someone who has been criticizing people posting for free help on their projects on this forum and others, IMHO I see your project as the type that fully justifies getting free talent and crew.

Unlike the one that I criticized here, your project probably wouldn't be made at all if you had to pay everyone (Or maybe anyone!). And, the world will be a slightly better, or maybe even a much better, place because you ARE making your film, and those that work on it will be doing so because they want the experience, NOT because you're dangling big names and film fest fame like a carrot on a stick.

It also shows class and kindness that you're offering a reasonable and equitable backend structure for your key people and even a little something for the others.

Let me close by wishing you a great shoot and much success with your finished project.

Tip McPartland

Yes maybe you're right, that was only my point of view, and I never shot 35mm nor am I a professional dp or editor, so I'm not a specialist by all means :-)

Good luck!

I've only had one person email saying they would, but only if it was indeed a special piece of work. I actually like this type of response because that's my attitude too. But not a lot of people have come forward yet (it's only been 1 day since the ad posted), so I'm sure a lot of people will decide to pass. We'll see. It could be worse. I could be asking for someone to edit an entire feature for free, which is asking a heck of a lot from somebody.

dump it to miniDV and i'll edit it for you, lol!!! Fo free.

Just to weigh in on the spec thing and appropriateness of asking/expecting a solid editor to do this:

I think it is absolutely within reason and a lot of people by that description should jump at it. Having a gorgeous looking spot shot on 35mm on your reel is worth it (for DP's and editors) since it will elevate the reel in a way that the same material shot on DV usually won't. I say "usually" because in the hands of a really skilled DP and director, it's possible to generate amazing looking DV that can surpass fair to middlin' 35mm...but great looking 35mm still rules the roost.

I've only recently stopped taking freebies for my DP reel, but the ones that I did take were specifically because they would fill out certain aspects of the reel that was lacking. And some of those freebies (shorts, mostly) have been the specific element that have won me paying gigs. A shrewd DP or editor will be able to identify the merits of a given project to determine whether it is worth a few days of their time to net some great looking material--on someone else's dime.

I once agreed to shoot a short film solely on the basis of the 4 opening shots, which I knew would be visually interesting. After that, the film became pretty straight-ahead, but I knew those shots would have value for me. Some 7 years later, two of those shots remain on the reel (in fact, one of them is the very first shot).

Greg, my sense is that you've already got the DP in hand, so you are in great shape to get started...once you have the footage transferred, having a series of fantastic looking screencaps should make the process of wooing a great editor to the project pretty easy.

I have to agree with some aspects. If it is truly a special work, it is well worth the time you spend on it. There have been several very successful films done by nobodies, with big names attached. It wasn't because they were paid huge sums, but because the story and conviction of the creator. It will get you more status than if you got paid to just do a job.

On the other hand, this is a DV forum, and maybe not the place to find experienced film techs ;)

Nice to see someone does the "foot-in-cement body-twist" also while filming!

Quick question about your audio setup. Did you angle your shotguns at all or are they aligned with the camera's center axis?

Funny you should say that, Charles. I've had about five or six people offer now, but one really stood out. They're an effects house, but they're cautious. So I sent them one of the scripts to one of the spots that I really liked, but discarded because of the special effects involved. It's a clever little beer ad.

I think I hooked them right from there. The guy sent back an email, admitted it made him laugh, then went through and broke it down step-by-step on what to do so they could work on the FX. They asked me to give them specific time and be patient, but if they're not swamped, they'd help out. This just from the spec. script. No shots, just what's on the page.

And I've seen their reel. They don't have any comedy spots on it, so it could work out well for both of us.

Brian,
Do you have any links to your some of your works please?

LOOKING FOR TORONTO AREA DP (no pay)
 

I'm looking for a DP/camera operator for June 24 as part of the Toronto Film Challenge (www.torontofilmchallenge.com). If preferred the DP could be part of the entire process (creating the script, filming, editing, acting...). We'll be using a DVX100A, sennheiser MKH 416, arri jr lighting kit and FCP. Email me at dino.santoro@rogers.com if interested.

Sound Needed Saturday the 17th
 

As some of you know, Steve Mayer fractured his back over the weekend in a dirtbike accident. We visited with him yesterday and while its bad, it could be alot worse.He has mobility and feeling but screws in his back after today with a plate. He'll be down for six weeks at a minimum when we're [planning a 13-week shoot which leaves us in need of a sound engineer for this Saturday's shoot. It's on location for 2nd Unit in North Hollywood in the Los Angeles area of California. It's a paid gig of course for an independent and the rate is commensurate with your experience and equipment. You'll be laved to 3 talent on stage in an interview situation; nothing extravagant but we do need someone who knows what signal is all about. Four JVC 100s will be on stage with sound cut to three of them.

Please let me know your interests as soon as possible.
Jonathan

Also, the show you're recording for can be found at www.2nd-Unit.tv Guests Saturday include former ASC President George Spior Dibie, ASC and USC School of FIlm's Rob Kositchek, ASC

Yes, I do angle my twin shotguns out about 10 degrees each, to give more left/right separation for moving subjects. Of course, if I was recording a voice or a single musician, I'd angle them slightly inward to maximize the isolation of that source. The mikes I use are 19-inch long Audix UEM-81C models, which unfortunately you can't buy anymore. They use XLR, but I've wired adaptor cords into a shielded stereo miniplug for my camcorders that need it.

Over the years, I've incorporated some substantial stretching and rotating exercises into my workouts and I've improved my range of coverage for panning. When I'm at each end of my rotating ability, I raise my opposite foot onto the toes and turn it inward, which gives me a bit more reach. I also shift more of my weight to the foot closest to the passing subject as it approaches and shift to the other as it goes by.

Video and music production-South Florida
 

I shoot video,do sound,music production and audio post. My girlfriend/partner edits video,photos,authors dvd's and creates web clips.I shoot with a Canon XL2 and a Sony FX1.
I've been hanging out here for a while, and enjoy these forums.
If you have an up comming project, or need anything,,emil me at yarock@aol.com.
Thanks
Bruce S. Yarock

Still looking to meet with some people.

Z1 or FX1 rentals
 

I have a two cam shoot on July 11th, pre-op surgical proceedure for training and promotion. Anyone know who in the Reading, PA area rents the Sony cams? Anybody? Thanks.

Don't know about Reading, but you might try Videosmith in Philadelphia:

http://www.videosmith.com/shop/image...teCard2006.pdf

Thanks Boyd, I'll check them out. Not far from the shoot either.

Z1U stringer needed in San Diego or Yuma AZ
 

Hi,

We need to find a stringer using a Z1U in San Deigo or Yuma AZ for a 2nd unit B-Roll shoot.

Anyone out there?

David Schmerin
PDM
The Wrightwood Group, Inc.
http://www.wrightwood.com
hds@wrightwood.com

wedding videographers
 

Hi

I need freelance wedding videographers (for 2006/2007) that want to work in NJ (central jersey - monmouth and ocean county). They must have their own gear.
If you are interset please sent a reply.

Thanks in advance
Anthony

Kind Words
 

Thanks for the positive feedback. I have already got some very good responses from talented people and am gaining a lot of ground in casting the film. Things look good for beginning shooting in October!

Howdy...

Look me up when you're a month away from getting started. If you're still looking for sound, I'll see if I can help out... I'm in Gilbert.

Best,

Benjamin


-----------------------------------------------------------------
Benjamin Freedman
Roo Productions
http://www.rooproductions.com

" recieve from 1/2% to 1% of gross revenue "

be very careful with "GROSS" revenue .. you'd better define what you say is gross ...
gross revene - you 4 wall the movie at local theater ( cost you 5K week plus another 2500 for advertisement) theater ticket sales $5000 = 5000 gross revenue = you get nothing but you owe actors & crew a percent of the gross revenue !!! = in the hole $2500+ for advertising and other expenses ...

Maybe you were meaning *net income*?

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.

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

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

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!

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

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!

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!

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

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!

Screening HD in NYC?
 

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