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Thanks for this! Suddenly everything makes sense when you put it this way. Really helpful. Just working out what I want to do and how I want to do it.

I am the producer. I sold the concept to the client, am bringing the money in, organising everything.

Thanks for this, really useful. Gives me a good, ballpark idea.

In the UK, rates are pretty standard irrespective of any union involvement. The market and pay structures sort of take care of themselves and standardise. There is an almost unofficial 'rate card' at any point in time although some people publish them.

You don't use rate cards? This is a serious question because in the UK, we use standard rates.

I hire a professional soundies in the UK is $350 USD per day including OK kit. I hire pro camera ops for $475 USD per day including OK kit. When I say 'OK,' I mean something that will get me a professional look / feel. So for cameras, technicals are 4:2:2, 4k 10 bit with a couple of lights and...

Let's say we wanted to film something in Connecticut. So how much would it cost for a single camera op (with a professional camera and some lights) and someone on sound for one day? I hear the prices are completely crazy in the US compared to the UK. Is this correct?

This is amazing. Outstanding. What are the vibrations like at, say 20mph? Do you have any footage of this? This is the kind of thing I mean. Hollywood would spend $5k a day on this kind of thing.

This is interesting. I'm going to use this. Not for these shots but for something else. This is pretty cool.

Producer's pretty good. We have a couple of months to figure this stuff out so we have time and there are some elements where our DIY backgrounds mean we think we can do stuff that is incredibly good for next-to-nothing. We think to ourselves 'how could we do this for zero?' How would we...

It's not much but it'll do. However, it also helps if you answer the OP's question.

DIY is kinda pro. The stuff we did as an amateur... well I use that every single day.

This is interesting. Active tracking drones are really interesting. Because we can get those shots. Also, like the ides around gimbal-on-a-pole, camera and height. Really clever. I saw something just like that where even without the gimbal, it gave the shot a really 'floaty' feel...

We're transporting animals, actor, people, equipment. All kinds of stuff including a catering truck plus we have a paying customer. There is no way we can get a 2-mile stretch of road in the UK for this type of shoot for 12 hours and just hope for the best. This is not a 'let's have a bit of...

We can't do that. Hence why I'm asking for shooting ideas.

Unfortunately not. For safety, we have a whole heap of stuff going on. There are animals, a paying customer so it's a full-on, professional shoot. We need a couple of miles of road etc... Hell, just the catering truck will take up a ton of space.

We have a 2-mile long, closed public road in a loop, a couple of professional drivers etc.... So what we're looking for is how to get the shots. So all ideas more than welcome! We're thinking frugal because we either hire the road or hire the tracking car. Don't have budget for both. It has...

So we're filming something where we want to get some shots but every time we ask for quotes for this, we're looking at £3,000 or more which is a serious chunk of change. So I thought I'd put this to the collective mind of the IndieTalkers and see what they come up with. The first shot is to go...

I did quite a bit of conference filming and shot a load of screens. To remove the flicker on the screens, the adjustment on my camera is the angle (the shutter speed relative to the frame rate). I use a C500 which allows me to do this. The second way is just to shoot the screen separately and...

Hi All! I'm on the board of a UK not-for-profit and every year, I give my time, completely pro-bono, to the team. It's a surgical charity and every year, they fly into disaster zones and give their surgical expertise and time completely free of charge. Sometimes, these are war zones so they...