Negotiating your deal
conversations
Most producers and unit production managers (UPMs) are straightforward and honest in their dealings with you. Of course, it's in their interest to get the best financial deal for the production, but they are also interested in making everything go smoothly. Any confusion about equipment or scheduling that causes a delay on set is very, very expensive. Try not to think of the conversation as adversarial.
Producers are not experts in everything related to Steadicam operating. It's your job to get the complete and full information to do your job. The producer may not be able to answer your questions (they are usually very busy and pressed for time), but he should direct you to someone who can help you prepare for the job and avoid problems.
Sometimes in the heat and confusion of the first telephone call, some details of the conversation may get confused. It's important to get back to the producer, saying you want to be sure you are clear about some point Usually a phone conversation is enough to seal the deal, but we always keep a copy of our notes around, in case there's a question later.
Deal memos
Some operators we know always have a complete, signed deal memo in hand before they leave the house. The best thing about a deal memo is the lack of confusion. The downside of demanding a deal memo is not focusing on the movie, and seeming to be most interested in your finances and suspecting that production is going to do something unethical. For big films, established commercial houses, etc., it's a waste of their time to mess with you financially As a day player, the deal memo you sign on set (along with all the other forms), is perfectly adequate.
For very small movies, start-up companies, and companies you don't know, get a deal memo. Explain that you want everything to be clear so there are no misunderstandings later, that it's no big deal, but like the insurance certificate, you just need it in hand before you start working. It's just a good business practice that protects you and the production company
If you suspect you really, really need a deal memo just to get paid, you should decline the job, or, make it part of the deal memo that you are paid in cash up front, and refuse to work until the cash is in hand. As you wait for the producer (who, naturally, forgot to get the cash) to go to the ATM, ask yourself if you really want to work like this. And a deal memo is not going to help you with these people.
Producers and UPMs come in all stripes, and their working conditions, other deals that they have made, etc., may also affect their conversations with you. Try to be as straightforward as you can about your rates and needs. Always give them your full day rate as a starting point, even for long-term jobs.
Do not ever be the first one to say anything after you state your rate. As the producer swallows hard, you wait. Do not offer to end the silence. Wait. Producers are busy and can't wait around. They've got other deals to make. You have only one. Let them suggest an alternative first.
If the producer pleads financial hardship, there was no budget for Steadicam, etc., then repeat your full day rate and ask them what they budgeted for Steadicam. Never give them a number other than your full day rate. If they come back to you with a number you can live with, fine. If it's not, do not suggest a number. Say, “Wow, that's way lower than my day rate. Can you do better than that?” If they can't do any better, you can either accept or decline the job.
If you are not going to do the job, suggest another operator or two that the producer can call. The producer might remember how helpful you were, as might the operator you helped get the job. What goes around, comes around, sometimes.
Once a deal is done, it's done. As long as they pay you what they've agreed to pay you, you must work as hard as you can for the production and stay focused on the artistic stuff. No moaning on set about the craft service, the bird-brained actor, etc., unless good food and a smart actor were part of your deal. This is your chance to make great shots! Be positive!
A few producers are less than honest, and they will play endless games with everyone to keep every last cent in their pockets. Some day you will meet a producer who sees the “save a nickel” part of their job as paramount. I knew a producer once who had to get his pound of flesh, who enjoyed beating everyone down from his rate. So I always inflated my rate 25%, fought like hell, and finally “gave in” for my normal day rate. Everyone was happy.
Making a deal is a skill perfected over time.
Day playing
On a single day shoot, almost never discount your services for big films or commercials. Sometimes you might give a break to smaller productions, especially if the job sounds interesting.
However, never, ever, give a break to the production manager who wants a severe discount because he promises more work on upcoming projects. Instead, try asking the production manager for your full rate for the first 3 days and offer to give him the fourth day free (the same discount in the long run, and you might end up with 4 days work) Oddly, we've never had a production manager agree to that scenario. Maybe that future work wasn't so certain.
On student films, always ask for some money and an insurance certificate. This ensures that they will treat you with respect and use you wisely.
Longer gigs
On jobs lasting more than a few days, the kind of deal you make with production will affect the nature of your conversations and your attitude on set.
If you have a deal that gives you a rental and an hourly bump on any day the Steadicam is used, then the decision to use Steadicam has implications for both production and for your bank account that are outside of its real usefulness to production.
The director or DP may feel constrained by the budget limitation and pass on using the Steadicam. Your recommendations that a shot be a Steadicam shot are also suspect, and it will doubly anger you if you feel a shot done on a dolly - or worse, handheld -would have been better as a Steadicam shot. At best, thinking about money on set is a distraction.
We prefer a deal that is revenue neutral, where you are guaranteed a healthy amount each week (a minimum number of “Steadicam days”) in exchange for unlimited Steadicam use without any further expenditure by production. This sort of deal can work both to your economic benefit and detriment, but it always makes the days on set more straightforward and keeps your focus on the movie. It also gives the director and DP the most freedom to use you or not as they see fit.
It irks some production managers to give Steadicam operators a healthy guarantee. If you have the rental and a bump deal, and when the director demands a shot be done on Steadicam at the end of a 15 hour sixth day, you will enthusiastically oblige the director and earn a small fortune. It's positively amazing how fast the Steadicam can emerge from the camera truck and be ready to shoot!
It's not surprising that, given these circumstances, the production manager will seek you out at breakfast the following Monday morning and suggest you agree to a flat rate, healthy guarantee deal like the one you first suggested to them. It is a good idea to accept the deal because money should not be an issue on the set. It is rare to find yourself renegotiating a flat deal.
On all but the lowest budget commercials, one usually gets the full day rate and rental for the gear, regardless of the length of the shoot. However, every operator's needs and market are different, so try to find out — way ahead of time — what is the norm where you live.
We suggest everyone does not radically undercut the going rates, agree to half days, etc. Yet as a beginner, one can't charge the same as established operators with the most expensive gear. Make friends with other operators in your area. If you don't undercut them, they may send you work they are too booked to do.