Movie set Still Photographer

I have been approached about being the still photographer on a low

budget independant film, and have been asked to submit rates, but

have no idea of what to charge? Has anyone done this? Any ideas?

 

Thanks!

This is based on projecting forward from rates years ago, but $900 to $1200 a day, plus expenses, would be about right.

Hmmm, all the "low-budget" films I worked on expected people

to work virtually for free. :-(

Dave,

 

You probably need to ask them what they can afford and you have to decide what YOU can

afford.

 

You will also need a Film Budget. THe Film of choice used to be EPJ Tungsten Slide Film

and it is expensive. Of course, they might expect Digital these days.

 

jmp

Usually it's pretty poor pay for independent productions. A lot of people are working for

creative reasons rather than a big pay-out. Independent films have been all the rage for

awhile, so if you get the job, make sure you retain the rights to your images. You never

know if it might be a big hit and the demand will suddenly create a bigger pay off.

 

Also, there are certain on-set requirements during a production. Not to start yet another

debate, but the Leica M is particularly suited for production stills. It's quiet, excels in low

light and contrasty available light conditions. Flash is an issue usually, obviously not

allowed during filming, and even when shooting set-ups you have to call it out so the crew

won't think a light just blew.

 

If you've never done it, do what you must to get the gig. It is VERY interesting to see

behind the scenes and hob-nob with the crew members, who have great stories to tell.<div></div>

$100 - $150 / day plus film expenses is the general ballpark for paying work on low-

budget independent films. It also depends on how low-budget it is, as anything from

$250,000 - $5,000,000 is considered low-budget -- the $100 - $150 / day rate is

applicable to the lowest of low-budget films. At the higher end, you can get $350 -

$500, but that depends on the cost above the line.

 

All producers would prefer that you worked for free, of course, so the fact that they

asked for your rates at all is a good sign. You will have to be determined to recoup

your expenses for film and processing, as getting money upfront from producers is a

dicey proposition and they will not repay you unless you hound them. If you are

shooting digital, charge for importing, photoshopping, archiving, etc.

 

Tim

Obviously not applicable in this instance, but it is worth mentioning that on a union film,

this is a union gig. Not an insurmountable hurdle these days, but a hurdle nonetheless.

The only one I worked on {{{ http://www.monkees.net/nez/eparts.htm ))) got a grammy..did the cover, etc. and about 6 weeks of work--paid well..but producer had a few extra millions ... for his private film...

"the Leica M is particularly suited for production stills."

 

In Europe I certainly see mainly Leicas on set, even on effects driven movies like the Bond series. But in the US I'm seeing more and more blimped Nikons and Canons. Despite being a life-long Leica user I have to concede that a properly blimped SLR is unbelievably quiet, even standing right next to one it was completely silent.

Some people just never feel comfortable with rangefinder focussing, or with the framing in a viewfinder. Agreed. Some don't feel comfortable with the better part of $20,000 hanging around their neck and off their shoulders. No problem. Some want a camera that does all their thinking for them and would really like something with an "auto compose" setting that's pre programmed with the rule of thirds. And there are those who enjoy using Leica rangefinders, appreciate the fact that long term they are essentially free cameras because the actually seem to keep increasing in resale value, or they like their handling and their optics, a whole bunch of reasons

Sometimes you need compact, quiet, excellent image quality....sometimes you need SLR

composition/preview/speedwinder/Autofocus.

 

jmp

We used a RZ67 for most of our shots on the sets. Had it on a grip or tripod ... Had a 360mm & 250mm -- for alot of tight shots and 50mm for full views

The Leica M is known to be a pretty silent camera. It is also known for very fast glass

without sacrificing image quality. A rangefinder is also easier to hand hold at slower

shutter speeds. All attributes that make it particularly suited to that type of available light

work ... all without having to "blimp" the camera.

 

The question is, have you ever shot production stills on a motion/sound set? If you have

let us know how you did it.

The movie sets I have worked on dont want cameras that are loud during a sound shoot. This has been the norm since "talkies" came out :) . A blimped camera is more of a mess to deal with. A quieter camera can be used; if not noticeable by the sound hand crew.<BR><BR> Each still camera has a different signature. It is not BS to seek a quieter still camera; in a super high buck movie set. The dollars per hour burn rate is enormous; the hours are long. <BR><BR>One can self blimp a still camera; if one has usage of an spectrum analyzer microphone setup to build one. Here the signature of the shutter can be measured; it takes alot of tries; ie averaging; to get the cameras signature; ie loudness verus frequency response; during shutter release and wind. A half case will many times quash the loudness a grunt. As one slowly tries diffenent materials; the camera grows into a blimp.<BR><BR> Two cameras of the same model can test different; due to brass versus steel gears; different shutter tensions; different wear and lubes. A camera can have a raspy high chirp at 2 to 5 Khz; and be heard by the sound crew; but not the old photographer; with hearing loss. The spectrum analyzer and microphone helps locate stray noises; from the cameras; ballasts; AC ducts; fan blades.<BR><BR>

Just for the record I live in North Miami which is the epicenter of south Florida's film and recording industry. There are a couple of sound stages and numerous recording studios within a mile or so of my house. I'm about half a mile or so of where Miami Vice was headquartered. Yes, I've been on set. Yes, my Leica M's passed muster with the sound guys.

 

The Miami-Dade County Court's official position on photography in the courtroom during a trial actually says that no camera louder than a Leica M may be used. It's easier to just show up on the assignment carrying M's than try to explain to the judge that your blimped Whateverflex is really just as quiet.

Whatever tool works for the job---just know you equipment and charge for it.

Most movie still shooters that I saw in the 1970's & 80's used hi-end 35MM SLR's.Now days,digital has taken over from the AF 35mm SLR's.The only pros that shot M cameras to my knowledge were old time news paper types.During the VN war,I recall the M2,M3 and M4's were found around every PJ's neck,in the field.These and the ubiquitous Tri-X Pan,were the "eyes of the war".The Nikon F's were popular,but their bulk and difficulty loading,made them less favored than the M's.The M's were like Fed-Ex,when they absolutely,positively had to work,they did.

I recently shot stills for an independent film; I did this for free because it was for friends in the cast. "Independent" covers a lot of territory - all the way from several million dollars' budget backed by a big star or director looking for creative freedom, to less than $50,000 student productions.

 

Most independent films are run either at an actual loss, or at the expectation of a loss with a pleasant surprise at the end. It's reasonable to ask for cost and meals plus a credit (i.e. producers pay for film and processing, and you get listed in the film credits). If you can get a day rate, that's gravy - but I would do this again for free (paying for film and processing at my expense) just for the experience of watching the film being made.

 

I learned a lot about the film industry, and about lighting, from being on the set. It was exciting and fun, and I felt privileged to have the access I had. Someday someone on this cast or crew will be in a bigger production and will remember me - and I'll get to have an even more exciting experience (and perhaps get paid).

 

My advice: take the job, even if it doesn't pay.

When I did this for a local independent film last year; I did it at a pretty low rate, realizing that they could not afford more. I believe I shot at around $35.00 per roll. I was willing to do this to help them out, as I feel that I got as much out of it as they did. It was interesting being behind the scenes for a few weeks of filming.

Leica's aren't quite enough during rolling, but are fine for not attracting attention to yourself during blockings and rehearsals. Every job is different, some only want film, some only wont film when digital wont excel, ie. 1200asa/30th/f2. Some don't want to pay the overtime hours for digital processing and would prefer a bunch of slides and contact sheets to editing and scanning. Some expect your post work for free. Some actors don't want digital, thinking that a neg is easier to control. Every job is different, but mostly done with SLR's and DSLR's side by side. I run <a href=" http://www.soundblimp.com ">Marc Jocobson Blimps</a> on my Nikons. Day rates vary, it's like asking what film is best for daylight. And no, you don't retain control over your images. You're documenting someone else's art and are merely an employee for their publicity department.

PDN feb issue this year had an article on David James, who has shot stills for Saving Private Ryan, Chicago, Total Recall, and The last Samurai, amongst others. In the article they quoted minimum rates (union) as $43.83/hour shooting props, and 46.97 for portraits.

 

they also talk about sound proofing your camera (and wearing black) to minimise your presence on set.

 

I had a look at the blimp above - it looks like once you get your camera in there, you can only shoot - no manual adjustments at all?? If that is right, then I can see how a Leica would be of benefit - they are a lot quieter than an SLR with mirror slap.

Adrian, they aren't that difficult to use really. The lens tube pops off with the three wing clamps you can see, so lens swaps are a breeze. It has internal stiff foam that friction fits against the focus ring for manual focusing. The two latches you see oppose a hinge on the bottom and the whole thing splits open for access to the camera's control. It is for shooting while the motion camera is rolling with sound, so you have plenty of time to take a meter reading, set your camera, adjust your mono pod, pick your nose, and compose. 35 working IATSE stills people here in the third largest motion picture industry in the world, and I've seen one RF on set by a Nikon user that was brought out half way through a show because he missed using it. RF's used to be more common before the use of blimps, but they are still not as quite. Everyone's Nikons are motor driven inside the blimps, something a non-blimped Leica can't compete against in an environment that one needs to be discrete. If you get on well with the sound guys, they may let you shoot between lines of dialogue with an un-blimped camera if they trust you. But the talent may freak, specially the poor ones.

i will concur what eric said and say that the only time i've seen a non blimped slr or dslr used was during a setup or maybe a rehersal. leica m sounds like a gunshot when you're a sound mixer :-)

i can definately see leica m having it's place though on non sync sound or low budget shoots where they cannot afford a union stills shooter with the fancy toys.

Exactly Matt. Shots during rehearsals and candids of the crews. Shots during sound

recording require all the toys, but are often to expensive for low end productions with

little or no budget for stills ... other than film & processing.

On set I use an 8Mp digital Konica-Minolta DiMage A2. It doesn't have a mirror so it's almost dead silent. It does make a tiny click when the f-stop stops down and I found that I can absorb that with a blimp made of a piece of felt from the local fabric store.

 

See some of my on-set stills here: www.psychopathia.com

 

In practice I use it on a tripod when possible for rock steady images. When off tripod it has a Vibration Reduction mode.

 

I shoot at ISO 200 or slower if possible as it is noisy at 400 but on most film sets there is lots of light.

 

I shoot RAW or the hightest quality JPG. On the film "Psychopathia Sexualis" I normally shot the hightest JPG and the files were about 5M to 6M and terrific quality.

 

The lens is an APO quality glass. 28mm to about 180mm equivalent in 35mm terms.

 

The A2 has been discontinued but is available from KEH and on eBay for around $400. The in-camera digital display was built using nano-technology and is billed as "VGA Quality". It's almost as good as a Canon or Nikon ground glass, not your normal junk low resolution digital in-camera display.

 

Terry Thomas

Unit Stills Photographer

Atlanta, Georgia

TerryThomasPhotos[at]gmail.com

Member: Georgia Production Partnership