Everything You Ever Wanted to Know About Becoming a Freelance Video Crew

So, You Want to Go Freelance?

About once a month I get a call from a crew member who is working for a production company or local television station, researching the idea of going out on their own. Sometimes they ask really good questions, “How many days a month should I hope to work?” or “Is it odd to say I'll work as a Grip or a Camera Operator?” Other times they'll ask less insightful questions, “How many days a week will you work me?” or “Can I have a list of the people that you guys work for?”

Either way I respect the person's desire to jump out on their own. It's a big step to leave behind a steady paycheck and to rely on your marketing skills to ensure that the bills get paid. In a nutshell, my advice is: during your rise to the top, don't forget the people who helped you get that first gig, gave you that good piece of advice, or helped you choose which format camera to buy. You will find that the freelance community is very sincere and rarely attacks its own members, as long as you mind your manners. One of the best ways to limit the amount you work is to bite the hands that feed you. Always be mindful of other members of the freelance community and help them out when you can.

I hope that I can provide a little insight into the freelance production world and answer some of the basic questions future freelancers may have.

What Is a Freelance Video Crew?

Freelance Video Crews are a common practice throughout the television, corporate, and video production industries. Producers, production companies, and news bureaus rely on video crews to capture footage that either is too far away to be captured by a staff crew, or they sub-contract out entire shoots to the expertise of other directors of photography (DP's).

In the case of those that own staff photographers and equipment, they realize a very important budget reduction by using freelance video crews — no travel expense. Many times the travel cost alone can cost as much as hiring a local crew.

If the client doesn't own staff crews they can expend significantly more costs traveling a sub-contract video crew than if they hire a team located close to the actual shoot location. Many feature films rely on this same mentality by traveling their key talent to a location where the local crew base can support the majority of the positions.

On the other hand, many freelance video crews are staffed by some of the best camera operators or DP's in the US. These DP's are specifically sought after to produce glorious video for multiple clients in the same month. They may work for National Geographic one week and then NBC Dateline the next. In this case, the client is so concerned with the quality level that they are willing to pay for the associated travel expense with moving the video crew from their base in Charlotte, NC to Birmingham, AL.

What Format Camera Should I Invest In?

There are so many varying formats in the video crew market it is sometimes difficult to know which one to choose. It is crucial to be able to shoot on the format you have chosen to market to your clients. Another option to consider is to own one or two formats, and then rent any additional formats. Clients request the following formats on a regular basis:

What Should I Charge?

Video crew rates vary based on region, market size, gear included, and experience. Of course, these are just estimates — you're the boss now — charge whatever you'd like!

Certainly be prepared to negotiate rates with your clients. It is a good idea to have your client sign a deal memo. This is a simple document that you prepare BEFORE the shoot outlining the length of day, overtime amounts, travel related costs and additional gear that may be required. Every client appreciates a deal memo.

It is a common practice to offer a discount to Booking Agencies or other Production Houses that can provide a higher volume of work. The discount range is typically between 10% to 15%.

Local vs. Portal to Portal

Clients will book crew “Local” or “Portal to Portal.” Booking a crew as “Local” means the crew is responsible for any mileage, meals, and travel time to and from the shoot location. Therefore, the crew is not paid for these expenses.

“Portal to Portal” means the crew bills for travel time, miles, and other travel costs from their office to location and back. It is common for crew from one market to offer to work in a nearby market for free. This practice is referred to as “playing local.”

For example, a crew in Charleston, SC may play local Myrtle Beach (2 hours away). Reasons for playing local in another city include: having friends or family with a place to sleep, don't mind the drive, or simply to increase their range of clientele. At any rate, you are providing your clients the opportunity to save money. You're only paid travel related expenses from the first location in Myrtle Beach, not from Charleston, SC.

Many crews “play local” in multiple markets, but rarely will they play local in a market that doesn't have other video resources. In other words, if you're a Charlotte, NC crew you won't be asked to “play local” Monroe, NC (a small town outside of Charlotte, NC).

What Does It Mean If I'm on Standby?

Standby is similar to “Right Of First Refusal” or ROFR. This practice allows producers and clients to ensure crew availability without limiting the crew from taking future assignments. Once a crew is placed on standby they are responsible for communicating with the client before accepting another assignment for the same day.

For example, a client may call and ask your availability for a specific date. They may say, “Can you standby?” This means hold the date for me and if you get another request for work on that date, call me and I will either firm up or release you from the job.

Should I Learn Multiple Positions?

Every video shoot requires different staff on location — the more hats you can wear the better. It is best to be prepared to work other positions, especially in smaller markets. Learn as much as possible about what other people do — it will only make you better at your position.

Usually video shoots will only need a producer and camera operator. Large video shoots may require make-up artists, production assistants, grips, gaffers, and electricians. Video crews normally come in either one-man-band or two-person crew configurations.

The one-man-band is best for smaller shoots primarily capturing b-roll. In this instance the camera operator is responsible for camera gear as well as audio. The two-person crew term normally refers to a camera operator with a sound person. Many freelance sound operators are talented in other areas, such as lighting, which enhances your ability to tend to your client's needs.

Freelancer Etiquette

It's always important to play well with others — I hope you learned that in kindergarten. There's plenty of sand in the sandbox. In other words, you don't have to shoot everything in your town. There are guys that have been at it longer than you and it's best to show them the respect they deserve. And, one day you'll see the new guys coming through and have to make a little room for them.

When shown respect these veterans can be very helpful in giving advice, recommending you to others, and maybe even give you some work.

Remember that everyone from veteran crews, to production companies, to booking agencies worked very hard to get that client they are recommending you for. A great question to ask is: “Am I billing you or the client?” Generally speaking, if someone is allowing you to bill their client directly, you can follow-up with them directly. However, if your bill is going to a production company, booking agency, or other freelance camera crew, you should not give out your business cards to the client.

And if asked for future work from that client you should defer back to the person who booked you. Most crews will say something polite like, “I had a great time working with you guys today, if you ever need anything else please request me from the booking agency!”

The key to working well in the freelance community is having a good attitude and being willing to work with others — amazingly enough this is the best skill you can bring to any film or video set too.