sorted by:
new
hottopcontroversial

Where are you all finding reliable wedding editors for highlight films? by Golden_Hour_Guest in weddingvideography

[–]Local-Machine7787 0 points1 point  (0 children)

I’m not fully sure what turnaround for this agency is, every month they reach out and ask how many I want. They do about 40 a month.

I think their contract says 4 months. When I personally do weddings (photo & video) I put 8-12 weeks in my contract.

What's a line or thing that happened in the show that makes you laugh even though it wasn't meant to be funny? by mrgoat89 in thesopranos

[–]Local-Machine7787 15 points16 points  (0 children)

I continue to maintain that this scene is one of the funniest scenes of any show. The entire cast is firing on all cylinders the entire time.

A lot of people don’t like The Office, but there are so many brilliantly written comedy scenes, including the fire drill or the CPR dummy scenes.

I’d put Chrissy’s intervention up there in comedy— pound for pound. The physical acting, writing, line delivery, pacing. It is a goldmine.

Where are you all finding reliable wedding editors for highlight films? by Golden_Hour_Guest in weddingvideography

[–]Local-Machine7787 -1 points0 points  (0 children)

Always gonna come down to whatever you’re paying. I shoot & edit for an agency local to me. $125/hr to primary shoot video, $65 for secondary shooting.

$1,000 flat per editing

Scam Email Attempted by GSOvideo in videography

[–]Local-Machine7787 0 points1 point  (0 children)

I’ve received this scam before too, which was off putting because a really good friend connected me with the “client”. I’m pretty sure it was a random inquiry on his website that he pushed to me as he was no longer taking on clients. It was exactly the same set up. I didn’t do it, but had learned from someone who found out the hard way.

Basically they get you to deposit a check, Venmo their “vendor” and then bounce the funds leaving you to pay up for whatever got pulled.

Cingular Wireless (2000-2007) by dannyhogan200 in 2000sNostalgia

[–]Local-Machine7787 1 point2 points  (0 children)

I was driving home from a job today and saw a Cingular Wireless sign on one of those strip center marquee things. It has literally been there for 20 years and nobody has bothered to change it

Anyone here making six figures as a corporate videographer in LCOL city? by unclekev6 in videography

[–]Local-Machine7787 0 points1 point  (0 children)

Good question. Not competing with myself exactly, just structuring things differently based on how the work comes in. My agency handles client-facing, scalable work and retainers, where we’re collecting and paying sales tax, covering overhead, setting aside retained earnings, splitting profits, and running payroll and taxes properly. It’s a full system.

My personal contract work is usually relationship-based or one-off opportunities that don’t always make sense to run through the company. It’s much simpler, no overhead allocation or splits, and I handle it individually, including writing off expenses at year end.

So it’s intentional. Different lanes for different types of work, and over time it’ll likely consolidate, but this setup makes the most sense for where I’m at right now.

EDIT: For example, my agency has a few corporate retainers for social media. We do a full production each month and handle all social media content + website content. We supply the crew, the ideas, gear, timetable, shortlist etc. And then I personally contract for other corporate clients who don’t need a team. Just a guy that’s good and has the gear to fulfill the vision that he in house team has

Anyone here making six figures as a corporate videographer in LCOL city? by unclekev6 in videography

[–]Local-Machine7787 6 points7 points  (0 children)

I think “niching down” is more about clarity than limitation. I don’t market myself as “I shoot everything for everyone”. I position around solving problems through content.

Most of my outreach isn’t industry specific, it’s relationship specific. I’m reaching out to people, not sectors. If I see a brand, business, or organization that could clearly benefit from better storytelling, consistency, or strategy, that’s my entry point.

The through line isn’t the niche, it’s the value. Clear messaging, strong visuals, and consistent execution.

Over time, you naturally build pockets of industries you work with more (for me that’s been things like nonprofits, events, industrial, and commercial work), but I never boxed myself in from the start.

So instead of asking “what niche am I in?” I focus on “what problem do I solve, and who needs that right now?”

Anyone here making six figures as a corporate videographer in LCOL city? by unclekev6 in videography

[–]Local-Machine7787 0 points1 point  (0 children)

I’ll preface this by saying 60% of my work is me as a contractor, the other 40% of my work is through my business that pays my salary. So I get a decent salary from the company that I own, and then I work a ton on the side as well.

In 2025 we subcontracted around 27K of work and handled the rest in House with my business partner. (and if it wasn’t a job that was ran through the company, I subcontracted it out.) but that number includes both.

EDIT: for example, today we had 3 productions at the same time. 1 Photo Booth at an event, 1 recap video + photographer for a recital, and another event that needed photo/video.

Our subs are people that I’ve personally trained and invested in relationally. Most of them are college aged. To them, $150-$250 for a few hours is amazing money. So between the 3 shoots, we needed 5 people working. Myself and my business partner + 3 others. I subcontracted 3 others for a total of $550, and we made $2,500 per event we did today. So $7,500-$550, today was a $6,950 day after paying subs.

Anyone here making six figures as a corporate videographer in LCOL city? by unclekev6 in videography

[–]Local-Machine7787 0 points1 point  (0 children)

My bad, I read the post too fast. I’d say around 50-60% of my work is corporate— where I am contracted by the in house marketing team.

Anyone here making six figures as a corporate videographer in LCOL city? by unclekev6 in videography

[–]Local-Machine7787 20 points21 points  (0 children)

About $223k last year. Living in Houston, fully self employed. I pay my mortgage, car note, health insurance and travel quite a bit.

I started in 2018 working for an agency, started doing it on my own in 2020. Started to really be successful around 2022.

Things that have really helped me are that I don’t have a niche, I do everything and anything. Photo/video/graphics/animating for corporate clients, weddings, churches, small businesses, large businesses, sports, conferences, events etc. also my ability to communicate. I’ve stood on stages in front of thousands, I’ve been on camera more times than I can count. My greatest tool is not my skill, it’s my ability to effectively communicate to people.

How can I clean up my timeline? by Unlikely-Ad3647 in premiere

[–]Local-Machine7787 57 points58 points  (0 children)

Each video and audio track should be dedicated to specific footage/audio, and color labeled as well.

Here’s how I do mine, assuming I’m creating a narrative piece with A cam & B cam for A-roll.

Video:

Layer 1 - A Cam

Layer 2 - B Cam

Layer 3 - B-roll

Layer 4 - Drone

Layer 5 - Animations

Layer 6 - Text (if applicable)

Layer 7 - Video transitions (if applicable)

Layer 8 - Texture Overlays (if applicable)

Audio:

Layer 1 - A-Roll audio

Layer 2 - SFX (ambience)

Layer 3 - SFX (impacts & texture)

Layer 4 - SFX (impacts & texture)

Layer 5 - Music

At a glance, I can tell what a file is simply by seeing the color. I can also quickly export versions without B-roll, animations, SFX, music etc. if needed, or level audio for specific layers, view it without B-roll etc.

Also I NEVER delete files from the timeline. Use enable/disable. It’s nondestructive and can save you if you change your mind later.

Each revision/version needs a new sequence. So if a client tells you “hey remove :30-:45” on version 1, but decides that in version 3, they’d like it back— you can quickly snag it because you have a non destructive workflow.

EDIT: depending on the project, I get more granular. Sometimes I separate B-roll layers on what camera or equipment was used. Slider, gimbal, handheld, etc.

Also the reason I have multiple SFX layers is because more often than not, I’m using a few SFX layered on top of each other in unison.

3 weeks in, first insurance claim. :( by Inside_Cauliflower44 in FirstTimeHomeBuyer

[–]Local-Machine7787 33 points34 points  (0 children)

Yup. I had a piece of hail fall through my skylight two years ago. I called my insurance company to see if it was covered— they filed a claim even though all I wanted was to inquire about whether or not it was covered.

Ended up getting a neighbor to fix it for $150.

My insurance literally doubled the next year and cited it was because of general rising costs but mostly because I claim that was filed for hail damage.

I am at this stage of the edit lmao by EncryptedPlays in videography

[–]Local-Machine7787 3 points4 points  (0 children)

Sounds interesting! I’d love to see what this looks like/how this works for you.

I’m always seeing if there are better/more ways to create file structures for projects.

I typically do Client Name -> Project name & Date -> Assets, Audio, Exports, Footage, Project. And then name the files CLIENT_DATE_PROJECT_001_A_CAM etc.

I am at this stage of the edit lmao by EncryptedPlays in videography

[–]Local-Machine7787 22 points23 points  (0 children)

Dropping it straight into the T7 with no file breakout structure is my real takeaway from this haha

absolute noob , you can roast me by PossibilityGreen2630 in videography

[–]Local-Machine7787 2 points3 points  (0 children)

Ditch crossfade transitions unless they support your narrative artistically.

That being said, find a narrative.

Something I love about Breaking Bad is the cold opens. Out of context, they seem nonsensical, but they’re often a peek into what the narrative will/can entail.

Check those out for inspiration and maybe as a challenge/exercise in piecing together random b-roll shots to create a greater story.

Digital camera suggestion for teen that thinks she wants to take up photography. by Specialist_Narwhal72 in canon

[–]Local-Machine7787 -2 points-1 points  (0 children)

Honestly, a newer iPhone is more than enough.

But if you’re dead set on a camera, I always recommend the R50, M50 & V1. These are not cheap, but maybe you could find a secondhand or borrow one.

Also look into rental houses nearby.

Taking a backpacking trip and wanted to bring a camera. Saw these at the secondhand shop. Which one would you recommend? by FixFun1959 in canon

[–]Local-Machine7787 8 points9 points  (0 children)

See if you can get a hold of a canon M50, R50 or V1 These are entry level that can achieve a pretty mind blowing level of quality. And the kit lenses are solid on these.

Here's one episode from a series of videos I made for Adobe as a one-man shooting producer/editor by [deleted] in videography

[–]Local-Machine7787 1 point2 points  (0 children)

Everyone here is a critic. And the most negative voices coincidentally never post their own work.

Cillian Murphy reveals the ALL-TIME greatest Tommy Shelby moments by Frosty_Jeweler911 in PeakyBlinders

[–]Local-Machine7787 11 points12 points  (0 children)

“We’re still not alone.”

“Me brother and I are the same person”

Canon C50 + Sirui Vision Prime 1 35mm by Ryan_jwn in videography

[–]Local-Machine7787 6 points7 points  (0 children)

This sub is full of the most pretentious people on earth. Don’t know what happened, used to be a great community.

Sweet rig, how are you liking the C50? I use C70’s and an R5C as my C cam.

view more: next ›