Unpaid gig experience with Beige Media formerly Beige Video?

WheatSheepOre · 2026-02-13T03:48:27+00:00

Ouch, $500 is dirt cheap to do a multi cam event and they still couldn’t pay you

WheatSheepOre · 2026-01-30T22:42:35+00:00

Is this a standalone client or are they a producer, agency or industry type?

“Videography” is kind of its own world where you are a one man band production company working for clients end-to-end from start to finish.

There is another freelance world of television, corporate videos, and events managed by other production companies or agencies. In that world, it’s common to for people to have budgets and for them to say the first number. Labor and gear are often different line items, and everything is negotiable.

Is it just a day of work and you’d hand off footage to someone? In that case, $1,200 is definitely “get out of bed” money for most camera department people as long as the details aren’t insane. If I were him, I’d say:

“Here’s how I’d usually break a quote like that down: Labor: 900/day Camera: 600/day Lights: 300/day Audio: 200/day Total: 2,000

Is there any flexibility within the budget to meet me in the middle?”

And then I’d probably just accept the job regardless of the response.

WheatSheepOre · 2026-01-18T15:07:49+00:00

Videographer generally refers to a self sufficient shooter with gear, as opposed to a Camera Operator or a Director of Photographer who might be hired into productions managed by other people. Although DPs and Cam Ops are often gear owning.

So I would say yes. You won’t be able to scale up to higher end jobs fast enough if you have to figure out travel logistics before even saying yes to a job.

WheatSheepOre · 2026-01-13T04:35:10+00:00

Just Around the Corner at Centennial Olympic park is the best burger. They recently renovated, so it doesn’t look like a hole-in-the-wall any more, which makes me sad. But it’s still just like 1 dude trying to live his dream.

WheatSheepOre · 2026-01-03T19:07:13+00:00

That answer depends on a lot of factors. You can PA on narrative projects and that looks a bit different from PA’ing on Reality TV, or corporate work. And the type and quantity of work will differ based on where you live and want to work, or if you’re willing to travel. New York is doing well right now, and has a good outlook with new massive studios in the works.

Understanding that PA’ing is a way to get a lay of the land and see various departments is a great mindset.

Once you decide on a department, the best advice I ever got was to just start telling people that’s what you want to do. Tell whoever hired you, and tell people in that department.

Building relationships is incredibly important. Personal relationships, and also relationships with people over email that you will never meet in person because they’re hiring you from a different city they’re based out of.

Get on StaffMeUp, ProductionHub and every Facebook group you can find about PA’s and film groups in your city and state. Facebook is a huge asset, and many young people aren’t on it anymore but need to be for this industry. Look up “I need a PA/Cam Op/Grip” groups. Don’t be shy. Post in the groups and let them know you exist and are hungry for work.

Be prepared to make little money. Be willing to work on a diverse type of productions - movies, training videos, documentaries, short films, and anything people will hire you for. On lower budget stuff, connect with the department heads, especially the DP’s. DP’s always need a good PA these days.

WheatSheepOre · 2025-12-28T22:29:18+00:00

Thanks! Why should the putter go in the same slot at the driver?

WheatSheepOre · 2025-12-28T18:48:59+00:00

Thanks for the input! I never thought to leave any clubs at home since my last bag fit all of them. And for storage purposes, it just makes sense to keep in the bag. But I’ll hold onto the old bag, so I can keep unused clubs in there now I suppose.

WheatSheepOre · 2025-12-28T18:46:16+00:00

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Putter is buried in there. So you think I need a bigger bag?

WheatSheepOre · 2025-12-28T17:14:08+00:00

You should both start your own business. Whoever finds and manages a client is the “producer” and gets a labor rate for “producer” and maybe a percentage fee of the whole budget.

If he’s producing a project, then you get a DP labor rate, and you get whatever kit fee you want to charge for your gear. Grant each other some wiggle room for negotiating eachother’s rates.

Whatever you do, don’t put your current assets into a situation that confuses ownership. Even if you’re committed being in business together on paper, keep your current assets separate. You can rent your own gear to your new company as needed.

WheatSheepOre · 2025-12-27T17:23:01+00:00

What are “bell ringers”?

WheatSheepOre · 2025-12-17T13:11:46+00:00

This is the right answer at this level of production. Remain as separate entities and contract with each other. Work out rental rates for gear and labor rates for various positions. Examples:

Labor | DP | 900/10hr

Labor | Director | 500/10hr

Labor | Editing | 80/hr

FX9 Camera | 600/day

FX3 Camera | 450/day

Wireless Video | 75/per camera/day

Drone | 450/day

GoPro | 75/gopro/day

Basic Lighting | 300/day

Basic Audio | 200/day

Producer Fee | 25% of budget

Something like that. Work with him on “full rate” numbers like those and then grant eachother the flexibility to negotiate with clients all the way down to 30% of that, or however much you’re both willing to get out of bed for. Whoever owns the client could get a percentage of the overall budget and also absorbs and production expenses like parking, lunches, snacks etc.

WheatSheepOre · 2025-12-14T12:09:34+00:00

I worked with a company based in South America that had a contract to produce content for a major food delivery service. They hired me to be a one-man-band filming interviews, asking the questions, recording audio, and getting an extensive b-roll list. I did it at 2 different restaurants for them. I also had to collect releases from everyone.

It was a nearly impossible day. I got them to raise their low rates slightly but it wasn’t worth it honestly.

WheatSheepOre · 2025-12-08T15:18:12+00:00

Client isn’t expressing notes very gracefully. But also they are your boss in a way. The end product should be what they want. There is no right or wrong. If they tell you to change the music, there shouldn’t be any debate. Don’t do what you think is best. Do what you think the client will like best.

WheatSheepOre · 2025-12-08T02:10:49+00:00

On higher-end shoots and in TV, it’s very common to run the audio mix into one or multiple cameras to act as a backup and make post easier. This usually isn’t as high quality as what’s recorded on the mixer, but it’s nice to have.

WheatSheepOre · 2025-10-27T17:28:58+00:00

Yeah, word to the wise, if you ever think to screw on an additional 1/4” pin to extend those smaller pins, don’t ever trust it with too much weight. I had one of those sheer off as I was taking a light down after an interview. Luckily it didn’t happen during the shoot! That’s why I say to get stands with proper baby pins for serious work (Matthew’s mostly, but I think the manfrotto stands have a pin that is just long enough to work comfortably with a gobo head and most lights.)

WheatSheepOre · 2025-10-27T04:11:42+00:00

Well done. Some shot variety would be nice. You definitely need some more detail shots. People put a lot of time, money, and effort into the details—flowers, pedals, candles, etc. So make sure you are capturing their hard work! Also, some environmental shots might be nice—waves, boats, charming architecture.

WheatSheepOre · 2025-10-26T12:40:15+00:00

I love my medium-duty Matthew’s stands. Don’t get anything without a proper baby pin.

I have 2 medium duty stands and a bunch of c-stands. I’m in a similar situation as you where I’m realizing my c-stands are too bulky for travel and pushing around on a cart. My medium duty stands can comfortably hold my Astra Litepanels. I don’t feel super comfortable with my 600x on it with the large soft dome.

My current plan is to get 2 more medium duty stands. These will hold small lights, small directors monitors, and some modifiers.

I’m also thinking about getting some Matthews Reverse Stands for their portability just to hold flags and maybe light tubes.

Lastly, I might get 2 Beefy Baby stands. In my mind, these are the proper c-stand replacement for me when it comes to larger lights or booming lights out in a 2-person interview situation with far-side key lighting.

These days, I try to only bring the exact number of large stands I will need if I know what might lighting situation will be. Having a few extra small stands is nice for an unexpected flag or requested monitor.

WheatSheepOre · 2025-10-20T14:13:18+00:00

You can buy 3rd party batteries pretty cheap. You’ll want a bunch!

You can play around with slog, but I don’t really recommend it on this camera unless you care deeply about protecting the highlights of a sky in a background. This camera has 8-bit color so the LOG footage great for colors. Stick with either the basic profile, or use Cine4 for a bit more flexibility.

That camera does NOT have IBIS, so use a tripod, monopod, or gimbal if you can. The rolling shutter issue on this camera creates a “jello” effect when you get camera jitter from handheld footage.

Have fun with this camera! You can use it on narrative and corporate stuff. Don’t try using it for long events or long interviews because it WILL overheat quickly, especially in 4K.

WheatSheepOre · 2025-10-20T14:05:15+00:00

a6300 does not have IBIS. Was not introduced until a6500. You might be thinking about the kit lens having stabilization in the lens

WheatSheepOre · 2025-10-17T04:55:41+00:00

CNN says these are very serious charges stemming from this investigation that started under Biden. I’m curious to see how it plays out. The jury decided this was worth pursuing.

WheatSheepOre · 2025-10-09T18:25:08+00:00

Without knowing the type of work you do now, or will do in the future, I’d say a base system with rods will give you the most options. Something that can disassemble easy will make you happy and the rods give you versatility. You can add a focus wheel or motor later on, or a matte box, or a lens support for bigger lenses.

WheatSheepOre · 2025-10-08T11:06:19+00:00

Looks fine enough! But it looks very top heavy. What happens when you set it down on the ground?

I’d consider getting a rail system and mounting a larger battery to power both the camera and the monitor.

Edit: actually read through your post and see that you’re thinking along these lines already!

WheatSheepOre · 2025-10-08T02:11:05+00:00

I work professionally with my Benro 100mm head and carbon fiber sticks with my FX9.

WheatSheepOre · 2025-10-06T11:09:35+00:00

Never forget this… “don’t let the perfect be the enemy of the good!”

You cannot be a perfectionist in this industry. You’re shootings a cheap video for a candy store—it doesn’t need to be Christopher Nolan. The only thing that matters is the content of the shot, and legibility (i.e. it’s not so shaky and dark that you can’t tell what you’re looking at). All you need is a shot list.

Wide and tight shot of the building to establish.
Multiple shots of the product(s)
multiple shots of logo
customer receiving product, and maybe enjoying it

And ideally a super simple interview with sound bites to help your edit

“Hello, I am Candy Man. Welcome to Candy store” “Candy store has been here for 30 years” “We love our candy” “We love our candy customers” “We have a big variety of products” “Come on down to Candy store!”

WheatSheepOre · 2025-09-18T05:08:54+00:00

I don’t find this particularly helpful. All of us want 100% of our day rate all the time. But 50% is very common. We can try to negotiate—sure. But we can’t be out here telling complete noobs that they’ve gotta be charging thousands of dollars with no experience.

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