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Johan Grimm

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  1. I've recently been approached by a major production company with decades of credits about adding me to their roster (oh holy day) and little ole me is suddenly finding himself looking down the barrel of negotiating some form of contract with said company. It's my first time going to bat on this scale, and I'm finding myself wondering key things like... Should I expect it to be a freelance-only arrangement? Should I expect a guarantee? Should I push for a guarantee if it isn't offered? Should I use the DGA rate card as a starting place for setting my expectations of compensation? (The c
  2. Greetings! I'm coming across the pond next month for a two-week gig that I will need to rent gear locally for. We'll be shooting several locations around Barbican, so ideally the rental house I get hooked up with will be nearby. I'm looking for an FS7 kit, a couple lenses, audio recorder and a small interview G&E kit. Any recommendations for a reputable rental house in that area that will have these items? Thanks! JG
  3. Wow, this thread sure came alive! This has been very helpful for me to gauge where I'm at. TBH, it sounds like I am actually already doing pretty dang good for myself! I suspect the fact that Boston is a much less saturated market is doing me a lot of favors. There are a lot of shooters here, but not that many with as much top tier experience as I have so I've been able to compete very easily. For me, asking price is always a big ? when trying to expand into new markets or fields and I just wanted to make sure I wasn't asking too little for my time. Sounds like I'm already getting towards
  4. Thanks for participating Phil! What would you consider more reasonable rates for work of varying scales?
  5. Thanks for chiming in! Definitely some helpful stuff here. Totally agreed that a GH4 kit sounds like a videographer / one man band stuff. That's what I began my transition into this field with, but as I said, I've DPed eight commercials so far and they all were shot on C300 or an Epic and I had a crew of half dozen or more on each one, so those definitely qualify as DP gigs and that is the kind of work I am looking to pursue. These price points you mentioned for various scale jobs help a lot in placing where I think I fall and what I should be asking for. Interesting points about
  6. Greetings Cinematography.com! This is my first official post after a few years of creeping from a distance. I am seeking advice for setting my rate for jobs, which I know is of course a very complex question with lots of variables. Bottom line, I'm looking for a rough ballpark figure that I should be trying to get when starting my negotiations. A bit about me... 11 years professional filmmaking experience. Started out in my late teens as a PA on major TV shows and feature films (about 450 days towards DGA, but no thanks). Transitioned into regional commercials first as a PA ag
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