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#1 Stephen Press

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Posted 15 December 2007 - 05:22 PM

Its funny we should be talking about the HVX with primes on another thread because of something that just came up. Ok this is a bit of a long story but if you bear with it there is a real kicker at the end.

About 6 months ago I got a call from a camera assist I have worked with. He had a corporate shoot with an out of town production company (Name withheld for now) they were part way through and the DOP had a stomach-ache, could I come in for a half day and fly the Steadicam for them.
I had nothing else booked so I said ok.

By the time I got there the stomach-ache had become appendicitis so I now had the whole shoot to do? I should have run then.

First the gear. The camera was a HVX with adapter and prime lenses. The Steadicam was in fact a Glidecam V8 with no monitor on the sled.

The data wrangler, cam assist and grip were all crusted around the camera trying to get it to work, one of the necessary plastic flange thingies was missing so they were phoning and bodging? I left them to it to find out more about the shoot.

It quickly became apparent that the Director had delusions of competency. The first shot of the day was to be a 4 to 5 min continuous roll moving through a maze of rooms and corridors involving 6 actors with dialog and a huddled mass of extras? this was a corporate vid???

The sound guy was sobbing in the corner over how he was supposed to mic 6 with out being warned? he thought he had problems?

So while I tried to set lights around the director?s constantly changing walk through, the witches coven around the camera declared the Frankenstein lash up of lens and gaffer tape ready.

The Glidecam was a dog and a pig to fly at the same time. The arm was too big to fit through a doorway it just couldn?t do the job so after demonstrating the problem to the director and his cluster of hangers on I unloaded my ActionCam from the boot of the car and set up on that.

3 hours and we hadn?t shot a thing. During that time you may have thought the actors had there lines down pat? For the next hour we did blown take after take. Finally I refused to fly until the actors could to two walkthroughs in a row without blowing their lines.

While they did that I had time to have a closer look at the camera. I was using all of their own settings as what we shot had to mach earlier shot stuff but some of the settings looked wrong to me. I talked about it with the cam assist who had his hands full with the piece of sh!t follow focus and he was shocked to find the camera had somehow changed to the wrong setup. Luckily we had nothing in the can.

Finally after 6 takes we had something that was ok. The director?s posse all nodded happily at the playback and he agreed. Now for one on one interviews. A fast and dirty lighting set up, I was beyond art at that stage but it look alright.

What followed was the water torture theory of interviewing technique. 2 agonizing hours of IV, drip, drip, drip? only 5 more interviews to go.

But now all the P2 cards are full. It?s the data wranglers moment to shine. Somehow one of the P2 cards is stuck in the camera. The others won?t download onto the laptop. We go to lunch and leave him to it. Half an hour latter, a limp salad selection of catering (I?m lettuce intolerant? strange but true) and still no joy. The stuck card is out but the laptop and cards are not talking. I phone a friend who works at a local P2 news station and he drops off a handful of cards on the proviso I get them back to him by morning. We slog on.

My half day now well and truly into the 15 hour mark it?s time to head home. Will I come back tomorrow? They didn?t even ask, they just assumed, I should have said no anyway but like a possum trapped in the headlights I was so focused on finishing the task it honestly never occurred to me to pull out.

The data wrangler took the production company?s P2 cards to work on them over night. I took the News P2 cards with me. At home I got an old hard drive I use to backup my PC. I formatted it and downloaded the P2 card onto it? ha! If only it was that simple.

The drive is too old and slow? I feel the same? so I take the PC apart and mount it inside, turn off everything that normally runs in the background cross my fingers and pray. It works eventually but I have to sit up and transfer the files at real time.

Next morning after a refreshing 3 hours sleep I take the hard drive and drop off the P2 cards to my friend along with a bottle of wine.

The rest of the shoot is a few simple GV?s that can be easily shot in a few hours? of coarse with our director and the helpful herd it takes another 15 hour day of painstaking grind. To be fair there was three hours of standing around in the middle as they try to get the P2 cards loaded onto the laptop.

So finally I wave them and my hard drive goodbye head home to a hot bath and a large rum and coke.

Next day I sleep late before sending off my invoice? to hear nothing until recently my Quick books accounts programme brought up a nag screen reminding me that (Name withheld for now) hadn?t paid or in fact sent back my hard drive.

I contacted them and it seems they have issues with my invoice.
For a start they don?t think they should pay for the Action cam as they had their own Stabilizing rig there? I can see that and although the director had said they would pay for it I can see where that might be argued but there was more? they didn?t think that they should be paying for the ingest time of the P2 cards at my home. That wasn?t what they hired me for its something that if I did at my own home in my own time because I wanted to then that was my problem and while they are at it they don?t want to pay for 3 hours crew time when we were waiting for the P2 cards to be ingested? apparently that was a brake.

I?m keeping this light but there is an emotional point that goes so far beyond angry that you just have to laugh or you are likely to explode.

I don?t think it is unreasonable to expect to be paid for all my time including ingest time? and I?d like my hard drive back.

Payment aside, I guess its stuff like this that colours my thinking about P2 as a format. I know it?s not the formats fault that I was dealing with morons but it seems a lot of morons are enamoured with P2.

With another format I could have handed the disk/tape whatever over and walked away at any time.

Am I being unreasonable? What do you guys think?
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#2 Lohengrin Zapiain

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Posted 15 December 2007 - 10:19 PM

Its funny we should be talking about the HVX with primes on another thread because of something that just came up. Ok this is a bit of a long story but if you bear with it there is a real kicker at the end.

About 6 months ago I got a call from a camera assist I have worked with. He had a corporate shoot with an out of town production company (Name withheld for now) they were part way through and the DOP had a stomach-ache, could I come in for a half day and fly the Steadicam for them.
I had nothing else booked so I said ok.

By the time I got there the stomach-ache had become appendicitis so I now had the whole shoot to do? I should have run then.

First the gear. The camera was a HVX with adapter and prime lenses. The Steadicam was in fact a Glidecam V8 with no monitor on the sled.

The data wrangler, cam assist and grip were all crusted around the camera trying to get it to work, one of the necessary plastic flange thingies was missing so they were phoning and bodging? I left them to it to find out more about the shoot.

It quickly became apparent that the Director had delusions of competency. The first shot of the day was to be a 4 to 5 min continuous roll moving through a maze of rooms and corridors involving 6 actors with dialog and a huddled mass of extras? this was a corporate vid???

The sound guy was sobbing in the corner over how he was supposed to mic 6 with out being warned? he thought he had problems?

So while I tried to set lights around the director?s constantly changing walk through, the witches coven around the camera declared the Frankenstein lash up of lens and gaffer tape ready.

The Glidecam was a dog and a pig to fly at the same time. The arm was too big to fit through a doorway it just couldn?t do the job so after demonstrating the problem to the director and his cluster of hangers on I unloaded my ActionCam from the boot of the car and set up on that.

3 hours and we hadn?t shot a thing. During that time you may have thought the actors had there lines down pat? For the next hour we did blown take after take. Finally I refused to fly until the actors could to two walkthroughs in a row without blowing their lines.

While they did that I had time to have a closer look at the camera. I was using all of their own settings as what we shot had to mach earlier shot stuff but some of the settings looked wrong to me. I talked about it with the cam assist who had his hands full with the piece of sh!t follow focus and he was shocked to find the camera had somehow changed to the wrong setup. Luckily we had nothing in the can.

Finally after 6 takes we had something that was ok. The director?s posse all nodded happily at the playback and he agreed. Now for one on one interviews. A fast and dirty lighting set up, I was beyond art at that stage but it look alright.

What followed was the water torture theory of interviewing technique. 2 agonizing hours of IV, drip, drip, drip? only 5 more interviews to go.

But now all the P2 cards are full. It?s the data wranglers moment to shine. Somehow one of the P2 cards is stuck in the camera. The others won?t download onto the laptop. We go to lunch and leave him to it. Half an hour latter, a limp salad selection of catering (I?m lettuce intolerant? strange but true) and still no joy. The stuck card is out but the laptop and cards are not talking. I phone a friend who works at a local P2 news station and he drops off a handful of cards on the proviso I get them back to him by morning. We slog on.

My half day now well and truly into the 15 hour mark it?s time to head home. Will I come back tomorrow? They didn?t even ask, they just assumed, I should have said no anyway but like a possum trapped in the headlights I was so focused on finishing the task it honestly never occurred to me to pull out.

The data wrangler took the production company?s P2 cards to work on them over night. I took the News P2 cards with me. At home I got an old hard drive I use to backup my PC. I formatted it and downloaded the P2 card onto it? ha! If only it was that simple.

The drive is too old and slow? I feel the same? so I take the PC apart and mount it inside, turn off everything that normally runs in the background cross my fingers and pray. It works eventually but I have to sit up and transfer the files at real time.

Next morning after a refreshing 3 hours sleep I take the hard drive and drop off the P2 cards to my friend along with a bottle of wine.

The rest of the shoot is a few simple GV?s that can be easily shot in a few hours? of coarse with our director and the helpful herd it takes another 15 hour day of painstaking grind. To be fair there was three hours of standing around in the middle as they try to get the P2 cards loaded onto the laptop.

So finally I wave them and my hard drive goodbye head home to a hot bath and a large rum and coke.

Next day I sleep late before sending off my invoice? to hear nothing until recently my Quick books accounts programme brought up a nag screen reminding me that (Name withheld for now) hadn?t paid or in fact sent back my hard drive.

I contacted them and it seems they have issues with my invoice.
For a start they don?t think they should pay for the Action cam as they had their own Stabilizing rig there? I can see that and although the director had said they would pay for it I can see where that might be argued but there was more? they didn?t think that they should be paying for the ingest time of the P2 cards at my home. That wasn?t what they hired me for its something that if I did at my own home in my own time because I wanted to then that was my problem and while they are at it they don?t want to pay for 3 hours crew time when we were waiting for the P2 cards to be ingested? apparently that was a brake.

I?m keeping this light but there is an emotional point that goes so far beyond angry that you just have to laugh or you are likely to explode.

I don?t think it is unreasonable to expect to be paid for all my time including ingest time? and I?d like my hard drive back.

Payment aside, I guess its stuff like this that colours my thinking about P2 as a format. I know it?s not the formats fault that I was dealing with morons but it seems a lot of morons are enamoured with P2.

With another format I could have handed the disk/tape whatever over and walked away at any time.

Am I being unreasonable? What do you guys think?


Dear Stephen,

I always try to set the record straight with the PM before starting any show so there won't be any problems later on.

I understand that they feel they shoudn't pay for an extra sled when they had hired one already. The point is: did they hire you with the Sled? I understand that you talked to the director and he said it was OK for you to bring your sled to set but that's no the directors call, it's the PM's call and probably he was a bit over his head and decided not to ask for the PM's approval and they screwed you as probably the PM was not aware of this and now he feels that he is being overcharged. Now if you made a deal before the show that included a rental for your rig that's a different history and the must pay you.

AS for the extra time I think is a bit of the same. Did you make a deal for a flat of 12 hours or did you negotiate extra time? was the PM aware that you were "taking" work home and that you where going to use your own computer equipment to do some downloading?

I have worked with Vancouver's and Mexico's finest (not) and I have never had an invoice or a day that was not paid for, I have made bad deals in the past but on my experience if you set it clear at the beginning with the producers they will pay.

Remember... it's not what you are worth... is what you negotiate...


As for the P2s I know that a lot of people are very happy with it. I usually do not interact with the cameras too much as I leave that to my assistants. But I know is a very affordable option for low budget shows witha no so bad HD quality.

cheers
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#3 Rob Vuona SOC

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Posted 15 December 2007 - 10:45 PM

Its funny we should be talking about the HVX with primes on another thread because of something that just came up. Ok this is a bit of a long story but if you bear with it there is a real kicker at the end.

About 6 months ago I got a call from a camera assist I have worked with. He had a corporate shoot with an out of town production company (Name withheld for now) they were part way through and the DOP had a stomach-ache, could I come in for a half day and fly the Steadicam for them.
I had nothing else booked so I said ok.

By the time I got there the stomach-ache had become appendicitis so I now had the whole shoot to do? I should have run then.

First the gear. The camera was a HVX with adapter and prime lenses. The Steadicam was in fact a Glidecam V8 with no monitor on the sled.

The data wrangler, cam assist and grip were all crusted around the camera trying to get it to work, one of the necessary plastic flange thingies was missing so they were phoning and bodging? I left them to it to find out more about the shoot.

It quickly became apparent that the Director had delusions of competency. The first shot of the day was to be a 4 to 5 min continuous roll moving through a maze of rooms and corridors involving 6 actors with dialog and a huddled mass of extras? this was a corporate vid???

The sound guy was sobbing in the corner over how he was supposed to mic 6 with out being warned? he thought he had problems?

So while I tried to set lights around the director?s constantly changing walk through, the witches coven around the camera declared the Frankenstein lash up of lens and gaffer tape ready.

The Glidecam was a dog and a pig to fly at the same time. The arm was too big to fit through a doorway it just couldn?t do the job so after demonstrating the problem to the director and his cluster of hangers on I unloaded my ActionCam from the boot of the car and set up on that.

3 hours and we hadn?t shot a thing. During that time you may have thought the actors had there lines down pat? For the next hour we did blown take after take. Finally I refused to fly until the actors could to two walkthroughs in a row without blowing their lines.

While they did that I had time to have a closer look at the camera. I was using all of their own settings as what we shot had to mach earlier shot stuff but some of the settings looked wrong to me. I talked about it with the cam assist who had his hands full with the piece of sh!t follow focus and he was shocked to find the camera had somehow changed to the wrong setup. Luckily we had nothing in the can.

Finally after 6 takes we had something that was ok. The director?s posse all nodded happily at the playback and he agreed. Now for one on one interviews. A fast and dirty lighting set up, I was beyond art at that stage but it look alright.

What followed was the water torture theory of interviewing technique. 2 agonizing hours of IV, drip, drip, drip? only 5 more interviews to go.

But now all the P2 cards are full. It?s the data wranglers moment to shine. Somehow one of the P2 cards is stuck in the camera. The others won?t download onto the laptop. We go to lunch and leave him to it. Half an hour latter, a limp salad selection of catering (I?m lettuce intolerant? strange but true) and still no joy. The stuck card is out but the laptop and cards are not talking. I phone a friend who works at a local P2 news station and he drops off a handful of cards on the proviso I get them back to him by morning. We slog on.

My half day now well and truly into the 15 hour mark it?s time to head home. Will I come back tomorrow? They didn?t even ask, they just assumed, I should have said no anyway but like a possum trapped in the headlights I was so focused on finishing the task it honestly never occurred to me to pull out.

The data wrangler took the production company?s P2 cards to work on them over night. I took the News P2 cards with me. At home I got an old hard drive I use to backup my PC. I formatted it and downloaded the P2 card onto it? ha! If only it was that simple.

The drive is too old and slow? I feel the same? so I take the PC apart and mount it inside, turn off everything that normally runs in the background cross my fingers and pray. It works eventually but I have to sit up and transfer the files at real time.

Next morning after a refreshing 3 hours sleep I take the hard drive and drop off the P2 cards to my friend along with a bottle of wine.

The rest of the shoot is a few simple GV?s that can be easily shot in a few hours? of coarse with our director and the helpful herd it takes another 15 hour day of painstaking grind. To be fair there was three hours of standing around in the middle as they try to get the P2 cards loaded onto the laptop.

So finally I wave them and my hard drive goodbye head home to a hot bath and a large rum and coke.

Next day I sleep late before sending off my invoice? to hear nothing until recently my Quick books accounts programme brought up a nag screen reminding me that (Name withheld for now) hadn?t paid or in fact sent back my hard drive.

I contacted them and it seems they have issues with my invoice.
For a start they don?t think they should pay for the Action cam as they had their own Stabilizing rig there? I can see that and although the director had said they would pay for it I can see where that might be argued but there was more? they didn?t think that they should be paying for the ingest time of the P2 cards at my home. That wasn?t what they hired me for its something that if I did at my own home in my own time because I wanted to then that was my problem and while they are at it they don?t want to pay for 3 hours crew time when we were waiting for the P2 cards to be ingested? apparently that was a brake.

I?m keeping this light but there is an emotional point that goes so far beyond angry that you just have to laugh or you are likely to explode.

I don?t think it is unreasonable to expect to be paid for all my time including ingest time? and I?d like my hard drive back.

Payment aside, I guess its stuff like this that colours my thinking about P2 as a format. I know it?s not the formats fault that I was dealing with morons but it seems a lot of morons are enamoured with P2.

With another format I could have handed the disk/tape whatever over and walked away at any time.

Am I being unreasonable? What do you guys think?

---------------
This kind of thing hasn't happened to me in quite awhile but never the less it has happened and while they think they shouldn't pay you for your time there and weather or not you hadn't negotiated the rate. Time is time and all things are workable. In my experience kill them with kindness then if all is not good torture them with legal.

Sounds like you saved the day, did them a favor and your repayment wasn't returned. I'm sure there are details that all of us are not aware of but stick to your guns and hammer them to pay.

In one circumstance that this happened to me I showed up to the production companies office before the EP of the show arrived to work and waited in his office and made sure I left with a check in hand. There was kindness first then anger second then payment third. Needless to say not one person that I knew in production ever worked for that company again without getting all of thier money up front plus 20% added on because of the reputation I made sure to pass on regarding their payment history and practices.

Good Luck and stand strong on your values
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#4 nealnorton

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Posted 16 December 2007 - 10:52 AM

Hi Stephen:

Once again proving that "No good deed shall go unpunished"

Sounds like you have just completed a graduate course in "how not to get involved with cheap, ignorant, bottom feeders unless you are a masochist."

I have found that there is an inverse relationship between the scope of the job and the absolute requirement to have everything nailed down in writing, signed, sealed, agreed and double checked.
i.e., Large budget film for major studio = verbal agreement often works out o.k. . . . Video job for Acme Productions based in Iowa Falls, Iowa requires EVERYTHING being spelled out up front including the home address and phone # of the production company, who's Mom or Dad is really in charge, hours, rentals, fees, food, assistants, mileage, out of pocket expenses, insurance, check before work or at the end of the day(s) and of course, area of responsibility.

And remember, it could always be worse. You might have done a "Pro Bono" job - that is almost a guarantee that you will suffer, suffer, suffer and then have the "client" hate you for ever!

Thank these creeps for the "education" and walk away.

Neal
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#5 Stephen Press

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Posted 16 December 2007 - 03:27 PM

I should have mentioned that before I did an invoice I called the Production Manager to talk about rates and what to bill for? I know after the shoot what an idiot? I offered to eat the Actioncam hire and have a day buy out rate for the first day that included some of but not all of the ingest time, I didn?t even think of the 3 hours spent waiting around on day 2 I just assumed that was on the clock.

She had just seen the rushes and was gushing. It was so much better than they had been expecting and the client was stoked? apparently he had been on the shoot but at the time I thought he was second AD? a very good second AD at that.

Don?t worry about it, bill for everything the PM said. So it came as a shock that they were not paying. She of course is long gone from the company and the guy I?m dealing with now is not very helpful.

I guess what gets me is that at the time I let myself be a doormat. There were lots of warning signs and point where I should have said no or just walked but it was like watching a slow train wreak, it was just so unbelievable I couldn?t step away.

So while I?ll take some of the blame for not following my own normal best practice and I can live without the Actioncam hire, I can see that the ingest time on day one was my own call and not wanting to mess around my friend who lent us the P2 cards so they could be argued, I will not back down on the 3 hours on day 2.

They claim the 3 hours we spent on set as we waited for the cards to ingest was a break in a split shift.

Now I very rarely agree to spit shifts and then usually only for live events with a early set up, rehearsal then a long break till show time.

We never discussed a split shift, it was not on the call sheet as a split shift. None of the other crew I have contacted thought it was a split shift. The soundie has yet to be paid, he is in discussion over extra equipment to do the job.
I can?t write this off to experience. I?m just too annoyed. I will talk to the soundie and see if we can lodge a joint complaint if I can?t resolve thing any other way.
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#6 Charles Papert

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Posted 16 December 2007 - 03:51 PM

I'm baffled at the part where the data wrangler waited until all of the cards were full to start downloading them...? Why didn't they begin the process the minute the first card came out of the camera? It takes a while to ingest, makes sure there is a backup on another drive, check the integrity of the data and then reformat the card--why would one possibly wait to do so until you are out of card space and the entire production has to shut down to wait for the process to be completed (3 hrs..WTF)?

Not to mention the fact that apparently no-one had prepped the job so they were flailing on the day to get the adaptor dealt with.

I have had one experience with the P2 business, on a high-profile gig; the AC I hired to do the media management had the most downtime of anyone on set, yet he managed to bungle the process to where two full cards were never backed up before deletion. This wasn't discovered until the edit, when the director had to fly back from NY to LA for 3 hours to do the reshoot (which I did with my own gear for free, to save face).

This thing about not having a tangible camera original is scary, but we will be seeing plenty more of that as time goes by (just had my first shooting day with RED yesterday, don't think I'm not nervous about the data).
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#7 Alec Jarnagin SOC

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Posted 16 December 2007 - 04:45 PM

Stephen,

Tell them you are sorry you can't come to terms and inform them they no longer have the right to use your footage as ownership reverts back to you. I once did a corporate gig where the end client was a museum and the product was a virtual tour of the museum. Once the production company kept screwing around with me on payment, I notified them that I was going to contact the museum directly telling them they had to remove the virtual tour from their web site since I was not paid for it. While obviously, I would have had little recourse if the museum ignored me, the production company folded and paid right away because I think they were worried about looking bad in front of their client (who was a huge one for them).

Good luck.
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#8 Stephen Press

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Posted 16 December 2007 - 06:03 PM

Thanks Alec it might come to that.


I'm baffled at the part where the data wrangler waited until all of the cards were full to start downloading them...? Why didn't they begin the process the minute the first card came out of the camera? It takes a while to ingest, makes sure there is a backup on another drive, check the integrity of the data and then reformat the card--why would one possibly wait to do so until you are out of card space and the entire production has to shut down to wait for the process to be completed (3 hrs..WTF)?


I?ve run into this a few times where the data wrangler is also running the video assist/playback and gets so wrapped up in that they seem to forget about the ingesting.
After all it?s supposed to be easy, fast and foolproof <_<

Up to now I have tried to kept myself separate from the data side of the shoot leaving it all up to the productions to organize.

Now I?m wondering if it is something I will have to take a more active part in just to make sure it is done right... but that would mean taking more responsibility for something I have very little control over? that doesn?t thrill me.

Anyway good luck with red.
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#9 Imran Naqvi

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Posted 16 December 2007 - 06:39 PM

Totally agree with Alec, a polite reminder that they don't own the footage, and that all copyright law supports you should end the discussion. I assume you don't ever want to work with them again anyway? Also disabusing them of the notion that they can get away with this should mean the next guy won't get screwed because it's too expensive for them to keep doing this. Remember the PM that said bill for everything was acting on the company's behalf and that a verbal agreement is binding.
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#10 Charles Papert

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Posted 16 December 2007 - 07:37 PM

Now I?m wondering if it is something I will have to take a more active part in just to make sure it is done right... but that would mean taking more responsibility for something I have very little control over? that doesn?t thrill me.


That would be like a DP having to micromanage a film loader. This stuff is not rocket science, it requires paying attention and using common sense like everything else in the film business. The problem is that the target is always moving, the technology keeps changing and thus there is plenty to keep up with.
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#11 Alfeo Dixon SOC

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Posted 16 December 2007 - 11:12 PM

Up to now I have tried to kept myself separate from the data side of the shoot leaving it all up to the productions to organize.

Now I?m wondering if it is something I will have to take a more active part in just to make sure it is done right... but that would mean taking more responsibility for something I have very little control over? that doesn?t thrill me.


This is exactly why this should be in the hands of a 'Qualified Person' (for the guys that took the CSATF safety courses) and should be in the hands of a 600 protected classification until handed over to production! They put some PA kid in charge of this but yet they wouldn't let a PA process and develop their film!?!? I had a guy calling himself a DIT, just because he owned a RED and I told him, your not a DIT. He has no prior HD experience before getting that camera and so I told him to do himself a favor and change your title to something more along the lines of RED camera utility.

-Alfeo
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#12 Brian Dzyak

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Posted 17 December 2007 - 02:30 AM

I feel for you. Unfortunately, due to a situation earlier this year, I've now gotten to the point where I have stopped doing every job verbally and at some point, have every detail spelled out in an email.

And I've learned over the years that going that extra mile to be helpful never ever pays off in any sort of appreciation. In fact, over time, Producers at this level begin to expect that those extras are my job when those are things that they should be dealing with. When incompetent people are in charge and let things slip through the cracks, they tend to assume that the more experienced crew will pull it out and save the day. Great, but is it ever truly appreciated? Unfortunately, not in my experience. So, for better or worse, I've stopped being the helpful one and let those in charge figure it out for themselves. And I charge for every minute that I'm not at home or in my truck. What the hell is this "split day" nonsense. There is "call time" and there is "wrap." Period. Straight time for the first ten, time and a half for eleven and twelve and double time after that.

Unless I'm specifically getting that Producer credit, I'm now essentially showing up to do my own job that I was hired for and let the rest of the day go as it will. Somebody puts Producer on their business card, it's their responsibility to figure out the details to accomplish the task and have the money to pay for it. Screwing the crew after they save the day is unconscionable.
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#13 Stephen Press

Stephen Press

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Posted 17 December 2007 - 03:53 PM

A currier arrived today with a hard drive, a bottle of wine and a Cheque for my full invoice? :blink: :blink: :blink:


Happy now. :D
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#14 Erik Brul

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Posted 17 December 2007 - 04:25 PM

A currier arrived today with a hard drive, a bottle of wine and a Cheque for my full invoice? :blink: :blink: :blink:


Happy now. :D


Congrats Stephen and be 'carefull' next time ! :rolleyes:
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#15 Martin Stacey

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Posted 17 December 2007 - 04:44 PM

A currier arrived today with a hard drive, a bottle of wine and a Cheque for my full invoice? :blink: :blink: :blink:


Happy now. :D



Get the feeling that someone is reading the forums ;)

Marty
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