Gregory Irwin

Actually Richard, there are plenty of indies that become signator with an IATSE contract thus adhering to the contractual rules. I've worked on some and they were smaller budgets. I'm not talking about anything under $1M.

I posted these questions under the topic of "cinematographer's pay rate" but I believe this deserves it's own attention. Let's start a discussion on this. I believe it's important... Here are my questions: What are the non union rates for the other camera job classifications? How many camera operator jobs exist in the non union world? What sort of annual incomes are we talking about? What about healthcare? What about saving for a retirement plan? These are all of the questions our young people need to be asking themselves now, when they have the time to do something about it. I don't think a day rate matters at all. What will you make per year is the important question. Greg

California salaries in numerous businesses and industries have been stagnated for many years. This state has been and still is in serious trouble. Until our political leadership provides a business friendly environment, we will continue to see a bleak job market and stagnant salaries - and/or California industries leaving the state all together for states like Texas or New York. . We shall have to wait and measure the net effect of this newly adopted tax incentive to see its impact on the California entertainment industry. As per our union contract, we receive a 3.5% annual cost of living rate increase on the scale wages. With reference to your above comment about how many are better off than 10 years ago, I would say that there are numerous factors to be weighed in that evaluation. For instance, we have many more members in the IA now than we had then with more jobs fleeing the previously established production centers like LA, Chicago and NYC. When I joined back in the 1980s, we had a total of 500 members on the west coast. Now, we have over 6000 natioanally. That's a whole lot more competition in an environment that has now spread much more across the country forcing people to move to new production centers like Atlanta and New Orleans in addition to the original ones. In other words, we will always have the established, more experience employees that the productions are willing to travel where ever the show is and then there are the employees scrapping for any job. That's simply reality. Here are my questions: What are the non union rates for the other camera job classifications? How many camera operator jobs exist in the non union world? What sort of annual incomes are we talking about? What about health care? What about saving for a retirement plan? These are all of the questions our young people need to be asking themselves now, when they have the time to do something about it. I don't think a day rate matters at all. What will you make per year is the important question. G

I failed to emphasize that the union pay structure is based on an 8 hour, straight time day. After 8 hours we go into 1.5x the hourly from hours 9-11. After 12 hours, we make 2x's the straight hourly till we wrap. G

There is no way he is describing the major studio jobs. It's truly is an education for me to read this thread. It's stunning to realize what the non union market place offers. I cannot comprehend how anyone, except when young and starting out, with no real overhead, could ever make a career with those rates that are mentioned above. There is no way! I mean, I am 53 years old, married, mortgage, etc. Most of you already know, I've been doing this all of my adult life. As a career First AC, I couldn't imagine surviving, much less having any sort of quality of life style working for what these non union DPs are working for with or without gear. Especially as I get older! Here's the flip side of things: Below is a list of current, IATSE scale (minimum) hourlies for feature film and half hour episodic television: DP: $100.17/hour $1,402.38/12 hours Camera Operator: $61.93/hour $867.02/12 hours First Assistant Camera Technician: $53.97/hour $755.58/12 hours Second Assistant Camera: $41.73/hour $584.22/12 hours Loader: $35.85/hour $501.90/12 hours As mentioned, these are the minimum hourly pay scales. Many of us who are veterans can command much higher hourlies than these. This also comes with healthcare benefits as well as retirement and pension plans. If you own gear, that is additional. For me and many others, this is a career rather than an adventure. I guess in the end, both sides of this industry is a reality. I do realize that many people are reluctant to join a union out of fear and / or knowing that they won't be able to compete at that level. I would just like to see an infrastructure within the non union world for crafts people to grow professionally as well as financially as they grow with experience. G

You know Richard, I can't disagree with you on this. G

No room for prima donnas in a team sport! But there is fair market value for skilled labor. Most of the numbers being posted in this thread don't reflect that in the least.

My motto has always been: "It doesn't matter how big or small the house that you're building is, the labor remains the same." Smaller budget? Pay the same and employ me for less days by condensing the schedule to fit your budget. That makes much more business sense by ensuring you get reasonably experienced labor for the precious, limited funds. G

Is this what your looking for? http://www.caseclub.com/custom-rackmount.htm G

You can try this case company http://www.caseclub.com They supply my company with camera equipment cases. They do great work. G

Hahaha! I love it. ;)

Oh my God! I am so bored with this!

The most popular professional cameras: Arri Alexa Red Epic Dragon Sony - F series Canon Buying the camera is the easy part. Will you be prepared for all of the rest that is required such as optics, filtration, support as in heads, tripods, batteries, matte boxes, etc? And paying the insurance to cover all of this annually is another cost. I'm betting that this is not the answer you are looking for but it's a reality. And as technology changes by the month, you must keep up to stay competitive. Take it from me! I own a camera equipment rental house in California and I live with these realities everyday. To be clear, I'm not trying to discourage you but I am trying to point out many variables that you may not have considered. Finally, I would stay away from Black Magic. Too limited. G

Just out of curiosity, why buy and not have your clients rent from an established rental house? Or do you plan on renting your gear to your clients? There are numerous pros and cons to either. G

I know more DPs who complain about front boxes until they realize they can stash their meter in it! : )

Have you considered the below example of a 4x4 tray that internally rotates a pola filter? I would imagine you could mount whatever you want in this tray... http://www.abelcine.com/store/RotaPola-4x5.65-Kit/

Do you mean did we know that Michael and another focus puller was in our shot? Probably. That was 12 years ago. And I'm sure we got his same answer, "Don't worry about it! I've got a guy!!" A guy, meaning VFX to paint him out in post.

That's right! Especially since I pulled focus on that shot referenced above. It's quick but Michael is certainly there. My most sincere apologies to Shawn. G

Sorry... I was trying to attach this photo and screwed up.

Well I'll be!!! There he is. You are so correct Shawn. I've seen this picture numerous times and have NEVER noticed that. This goes to what I said in an earlier post, that Michael tends to decide what's important or not important in his world. Thank you Mr. Martin!

If you can show that to me, I'd appewciate it. I've never seen that and I not sure that exists. G

Wow. I've never seen that before. Really interesting and so many (too) familiar shots! And I always thought that Bayhem and Bayos was simply our work environment! :) G

HEAR HEAR!!!

Younes, I couldn't disagree with you more. Michaels's sense of visuals is spectacular. His editing skill is remarkable. There is much to absorb about a cinematic style that you don't have to like in order to learn. G

The way I look at it is that I would probably go back for more. He is a known entity and you just have to have the right attitude and your Kevlar suit! And let's face it: we make a lot of money working on his movies and he is very loyal. I actually like him. As my dear cinematographer friend says, " We don't write 'em, we just light 'em!" G