Easiest way to make a little money shooting video/stills?

I hope it's appropriate to post a general question about the business of shooting video/cinematography in this forum.

If you've read me mention in other threads that I'm a beginner then you may find my asking this question laughable, so let me qualify the question by explaining that I am not talking about making a living shooting video or even so much as shooting a wedding (which I would not even entertain the thought of attempting any time soon, lest I botch a couple's special day). I'm just looking for something I can do to make a little money to "feed the habit" (to be sure, I mean the video/gear habit).

I want to be able to buy more lenses, I want a Blackbird/stabilization rig. I want... who knows what as I go further down this rabbit hole. Maybe I'm having a mid-life creativity crisis. I made videos all throughout my childhood and applied to and was accepted at a respected film school many years ago, but chickened out and didn't go because I heard from many that I wouldn't be able to earn a living with the degree. I suppose I never outgrew being the kid with the camcorder calling "Action!" to his friends, but merely repressed him, and he has somehow now managed to surface notwithstanding work, kids, and other forces that would suggest I've neither the time nor the money to pursue my interests.

Anyhow, I'm getting into this stuff in a big way, and if I can somehow make it self propagating, i.e. find a way for the equipment to pay for itself, then I can continue to do so without any... spousal limitations.

So, is there some... non mission-critical (e.g. not a wedding) service I should be able to offer with a Black Magic Pocket Camera and a lens or two (and possibly an inexpensive still camera that can use the same lenses) for $100 - $150 a pop/session?

What would you suggest and how would you get started? Thanks!

Probably not.
Depends what market you're in.
You may be able to rent the camera out to student productions, low budget things, but you'd need a bigger kit for that.
You may be able to parlay your camera into a tank of gas on no budgets. But, without experience, without a reel, resume, or a full in demand kit, you're not going to be making too much money.

The only thing I could even remotely think of doing would be real-estate virtual tours-- but even then often they want Dolly and jib shots, slider shots, and extreme wide angle, as well as often stills, and many of those jobs seem iffy at best.

And again, depends on your market. If you're in a major market, you may be able to hook up with some people who may have a ULB rate, but normally not. Though if you're in a more major market, you can certainly "volunteer" on shoots to get some experience which may lead to maybe, if you're lucky and good, getting some ULB work.

One place you could start is by approaching small local businesses. Most have websites and Facebook pages. Adding video content to those channels is generally too expensive for small businesses.

Approach a few and shot a few freebie promos. Then use those as examples of what you can do to show others that might also want something similar. Soon you'll be charging (even if it's just a small fee) for films and developing your craft. And you get to help your local community and economy.

"Sleepless",
Appreciate your candor. I'm in a bit of the same boat. You might drop in your real name when you get a chance, since you're already pretty open about your interests.

It's probably a long shot but maybe there's an opportunity in stock footage sites. I think the clips you post would need to be incredibly unique and I have no idea what cut the originator gets.

I would think that perhaps there's an opportunity with some segment (e.g. weddings) that want to experiment with raw to see what the results are. They might want to rent a basic BMCC rig as a second camera and have an apprentice or otherwise available hand who has the time to see how it compares to whatever they're currently using.

I work in the music industry but also shoot and edit paid video in my spare time.

I would suggest contacting local small businesses or musical friends and offer a free video. That is what i did.

Also watch, learn and study anything and everything video related. Youtube is a great resource where i have learnt many things from hours of watching.

Once you have a good selection of video, build a showreel and start networking. Social media is great for getting work, i made my first record deal via Facebook.

There are lots of areas in the video industry, maybe look at specialising in a certain area that really interests you?

Not wishing to be negative but being realistic, I do not think you can do a lot with the pocket camera... especially if you walk into a small local business. Not with guys with the same idea walking around with Red Epics and Scarlets.... and BMCC's.

Competition is very fierce and without a show-reel and a website with lots of good industrial and commercial footage you have little chance.

Maybe try some real-estate stuff for realtors - but you will need a show-reel for this as well.

So get shooting and build up a portfolio first. Arm yourself.

I would not recommend doing anything for free for a business. It sets up a bad future business model. Stock footage is really a long shot.

One practical method to get off the ground is do something for free for a high visibility LOCAL NON PROFIT.
You must make sure you're credited or the video links to your website.

This will give you good visibility for the demo.
Local Non Profits are often funded by local businesses or business people. This exposes you to a potential PAYING client base who may not only like your work, but appreciate that you're supporting something that they support too.

Additionally you may want to create your own excerpts of "non existent" corporate videos including elements a typical corporate video might have. It would be for "non existent" businesses. You have to be careful how you do this though so the elements should be very very generic.

Keep in mind you need to learn about the purpose, style and targeting of corporate videos. A good way to learn is watch. Watch how "management" interviews are done vs employee vs customer testimonial. Look at how "on location" portions are shot. Watch how product or service demos are shot.

Once you have a demo you can start approaching local businesses for web page marketing videos. Also many companies need "internal" videos such as management to employee communication or training. These might be bigger than what one thinks of as a "local" business but if you're in an area where there's an "industrial park" being local helps when they need something in a hurry and the "regular big gun" isn't available for the smaller jobs. I know people who focus on shooting interviews and they can make a living.

Local cable spots can be another avenue. Depending on where you live, local cable ad buys may be more affordable than many realize. You can get the rates from your local cable company. Sure cable companies produce TV spots for local businesses but they often do a poor job since they're really concerned with making money on the ad buy. When I brought in the first couple of spots to my local cable companies, they asked for my demo reel. They farmed out some spot work to me for clients who wanted something a bit more than the Cable companies "free" production. I also made 15% as an "agency" on the ad buys when I brought in my own clients and did the media buy.

It's important not to under price yourself even as beginner. You base price should cover your living and equipment expenses. Once you get your basic kit together, try to buy based on the need for the paying job you're about to get.

This is a good freelance calculator to use. Personally I think assuming 20-25 paid hours a week might be good because the rest of the time you'll be learning, managing your business, marketing and sales.
http://freelanceswitch.com/rates/

Not wishing to be negative but being realistic, I do not think you can do a lot with the pocket camera... especially if you walk into a small local business. Not with guys with the same idea walking around with Red Epics and Scarlets.... and BMCC's.
...

I live in a major market and many of the local cable spots are still being shot on HDV cameras. Most LOCAL businesses don't have that kind of budget. I've seen stuff on the web for these businesses shot on Canon Vixias.
Using a BMPCC is almost an "upsale" if it weren't for the low cost of the camera.

The local dentist who does cosmetic dentistry isn't going to pay for an Epic. In fact even bringing in a Sony EX1 may intimidate the customers doing the testimonials and a large camera may be too big and cumbersome to set up in the waiting room.

The local car dealer doesn't have that budget either. With a BMPCC, a good slider, a pocket jib, would give him an excellent video shot by a one man band or a director and their assistant.

Shooting in a local health spa/gym on their budget producing a video that they hope will increase membership... and do it while the gym is open for business.

Then there's the interview of the mid level manager in his 10x12 office.

Small, portable, affordable, will win in many cases.

+1

The Pocket cam is more than suitable for most video work.

Yes, maybe you wouldn't get booked for the next cinema blockbuster or high end advert with the Pocket, but I'm sure they are not on the op's mind at this moment.

Don't pick on it because it is small

I'm in the music industry too.
And the thing that would set you apart and bring in potential work would be your skills. It isn't about the tools.
Because you suddenly have high quality gear, doesn't make you more attractive to locals. What would make you more attractive is a reputation for shooting good film, and word of mouth.
Since the internet has lead to a lot of 'free', and project budgets in any creative endeavour have been slashed, there are a lot of highly skilled professionals doing low paid, low profile work. So you are gonna be competing with them. It's the same in my music career.
I'm using video to add to my music income. But I'm working for myself, not paying clients, and I can take however long I need, and it doesn't matter how many times I screw up. It's a steep learning curve.
About 20 years ago I took some fashion pictures for my then girlfriend (model). I got a couple of amazing, professional quality shots. It was a no pressure "hey if it works out" kind of photo session.
Seeing what I'd done, a couple of her friends asked if I could take some shots for them. I was shaking as I tried to run the session. I obviously didn't put the clients at ease. My technique was found wanting, and all of the pictures were terrible.
It's a steep learning curve.
Anyway, don't want to seem negative. I'm just trying to say experience and personal skill are going to be more of a factor than your new gear.
The only way to build skill and experience is to do the work. So I would agree with the above suggestion to approach local charities and amateur organisations.
I'm trying to build skill and experience by filming my own projects.

I live in a major market and many of the local cable spots are still being shot on HDV cameras. Most LOCAL businesses don't have that kind of budget. I've seen stuff on the web for these businesses shot on Canon Vixias.
Using a BMPCC is almost an "upsale" if it weren't for the low cost of the camera.

What is wrong with using a Vixia?

A small business won't care what sort of camera you are using, and have probably never heard of the BMPCC. The only thing they will care about is that you can deliver what you say you will.

Yeah I would stay away from Weddings until you at least get another camera and have some more experience shooting. Shooting a wedding by yourself can be tricky and you have to be prepared for anything. The first big wedding I ever did I was using a 5D MkII with a somewhat fast lens. I didn't have a camera light but didn't worry too much since the wedding would be during sunset and the reception would be in a well lit area. I didn't count on the fireworks show that would move everyone outside into the dark where they proceeded to give all the toast and speeches. So I ended up with terrible dark and unrecoverable footage.

Real estate videos for smaller companies could be a good route. They aren't too challenging. I did a whole bunch for a local company and they never asked for jib or dolly shots. I did have a glidecam though. It wouldn't hurt to learn a little after effects to help you dress up your videos either.

What is wrong with using a Vixia?

A small business won't care what sort of camera you are using, and have probably never heard of the BMPCC. The only thing they will care about is that you can deliver what you say you will.

Nothing wrong at all. If you read the post I was responding to by emptymind they stated...

emptymind wrote:
Not wishing to be negative but being realistic, I do not think you can do a lot with the pocket camera... especially if you walk into a small local business. Not with guys with the same idea walking around with Red Epics and Scarlets.... and BMCC's.

Which is not true. As I pointed out, some small businesses use Vixias... which is why I said a BMPCC would be an "upsale" This even though the Pocket sans lens is about the same price as some of the higher en Vixias and also about as small.

My point is you can EASILY do Professional work with a BMPCC.

A lot of my clients ask me about doing weekly, ongoing shoots. Just basic stuff in their offices, sort of like the NY Times does with David Carr.

I can't justify doing these ongoing things on the budget they're offering, but you might be able to get one of them to pay you $50 to come in for two hours once a week and making these short videos for them.

Thank you so much for the advice and suggestions, everyone. This thread has definitely given me some great ideas that I plan to pursue once I'm proficient with my BMPCC.

I understand how doing work for free (other than for non-profits) can hurt other videographers/cinematographers because it may tend to set clients' expectations that they can have quality work done for free or close to it. Given that, assuming I wanted to approach local businesses about shooting a commercial for them at some point in the future, what do you think is reasonable to ask for?

Thank you so much for the advice and suggestions, everyone. This thread has definitely given me some great ideas that I plan to pursue once I'm proficient with my BMPCC.

I understand how doing work for free (other than for non-profits) can hurt other videographers/cinematographers because it may tend to set clients' expectations that they can have quality work done for free or close to it. Given that, assuming I wanted to approach local businesses about shooting a commercial for them at some point in the future, what do you think is reasonable to ask for?

You are getting some very negative feedback in this thread. The very first place I would look for video work is on Craigslist. I know this does not seem like a place to get real work BUT you will find those $100-$500 jobs that can help you grow. I did this as a student and it was a huge stepping stone into my career.

Some good advice I have seen is to start doing free work, this will build your portfolio. I work professionally now but still do some free jobs for certain people that I know I will get quality demo reel footage or opportunities to shoot things I may not otherwise have had.

Stay away from weddings until you get more equipment, nothing is worse then being underprepared for the most important day of someones life and the stress that can be attached to it.

Insomniac, the BMPCC is more camera then most people are still using to shoot "Pro" video. I still see XL2 & XHA1 all the time in the world of pro video, so don't let people get you down! if you are hungry and you want to grow & develop your skills you will find your way.

cheers,
Steve

...assuming I wanted to approach local businesses about shooting a commercial for them at some point in the future, what do you think is reasonable to ask for?

See my link I posted called "freelanceswitch"
What's "reasonable" depends on your costs. As a newbie you can cut "profits" from the equation but you MUST cover your costs... which was the objective of your post...paying for the equipment. I feel like I'm being redundant because the calculator gets you close to the answer. Your costs and how long you think it will take so you know your $/hour/day you charge. Your cost of living may be very different than mine. Your business model may not at all be related to mine. You also need to think about selling first because you should never sell primarily on price. If you sell on price you'll be bankrupt and selling off your gear to pay your debt within the year.

A better first question would be "how do I sell to a local business when I can't sell experience" rather than rate. Rate is the easy part (see calculator), sales is the tough part to master.

Let's give a specific "challenge" related to the BMPCC.

Business: Local Restaurant

Desire: Wants to do a web video and maybe even a local cable spot to promote their business.

Their Feature: Their beautiful "backyard garden" nighttime dinning experience. Also their well prepared food.

Their Concern: They want to show the dinners, not an empty backyard garden but, they don't want the customers to imposed upon.

Your Sales Pitch: They like your reel and they really LOVE your BMPCC. It looks like a point and shoot so they know the guests won't be intimidated. Additionally, the camera is so small you'll have no issue being the way in the kitchen to grab some nice food prep shots. You can edit a web video (about 2 minutes) and a TV Spot 30 seconds) from the same shoot. You win the job because of your reel and you really have a camera that won't get in the way.

Your needs and challenges
Equipment Scenario:
You'll need an OIS lens for the kitchen shot because you'll have to go hand held in there.
You want to get at least one wide shot in the backyard garden. You're not going to be able to use lights since that would be a problem for the dinners. You'll need a lens that's both fast and wide. The wide lens might help for the establishing shot of the front of the restaurant. You might also want a zoom or proper length primes to shoot some closer table shots. You might be able to get away with a monopod or you could go with a small unobtrusive tripod. The owner or chef might do the voice over and, if their vein, might want a few seconds on camera. If on camera you'll need a proper lav mic and recorder. If it's just voice over you have more flexibility since location and appearance isn't critical.

Your Decisions:
Equipment: You have tripod and/or good monopod, audio recorder, lav. Do you already have the lenses in your kit though? Fast wide, fast zoom? Maybe your lenses "kit" type f3.5. Do you need Metabones SpeedBoost? Can you afford to buy or is it possible to rent? How long will this take to shoot and edit?

Logistics:
You figure you can shoot the establishing exterior, kitchen food prep, backyard in 3 hours but you need some contingency breathing room so you figure 5. The Voice whether on camera or off may need to be shot/recorded at a separate time since doing that during business hours will be a stress and inconvenience for the owner/chef. So you're looking at a half day shoot and maybe a separate hour or two for the audio. The web runtime might be 90 seconds to 2 minutes and the TV spot would be 30 seconds.

Part of your winning sales pitch is that for this one shoot they can get both a web and cable TV spot. Repurposing the video is a big part of your sales pitch since it justifies the price. It makes it much more palatable to the business. Since your the "agency" you can get 15% tacked on to the "media buy" since you'll take care of that for the local business as well. You'll buy time on Food Network locally as well as the local 24/7 news channel for broader reach. Part of that time will be during their local restaurant review segments.

Time:
Half Day shoot.
2 hours for voice over.
2 Eight hour days for editing both web video and spot. It's going to be a quick edit and the second day is really for revisions. You need to think about travel and setup time but you're nearby and that's part of the half day shoot. You have to figure out what to do for the voice since that's really a separate shoot.

Review:
So now you have a layout from end to end knowing what the client needs, what equipment you need, a reasonable time estimate. Based on what you need to make you can come up with a price... which would be the LAST part of your sales pitch since you're selling a SOLUTION and a SERVICE, not a price. If you have to negotiate you can present ways to cut their costs such as including the Voice during the shoot if they're willing to deal with the inconvenience. Never give away services but do allow the client to make their own cost cutting decisions.

This is also why the BMPCC is really an ideal camera for local business shoots. Being unobtrusive is a big concern and a big selling point for many potential clients.

Challenge:
So now you need to contemplate how you handle this with time and equipment needs. You want to be able to make a living and have enough to buy those nifty lenses you'd use for this and other jobs.

Make yourself some nice business cards, go to events and shoot pictures and movies. Then give your card away and sell the pictures and videos... of course edit them and be nice and practice, then you start getting some calls, if you do it enough and practice a lot, money will flow. But the most important is the business card

This is a great response Craig, thanks!

This may be a very broad question and I'm not looking for a perfect list as I know it doesn't exist but what would anyone recommend as a base kit that could cover most commercial 1-2 day projects. I'm in a situation where I feel I have a pretty nice kit with support, and sound but am finding myself recently (since I'm sort of new) buying a new item for every shoot. To help, here's the typical shoot I'm involved in: corporate type stuff, lots of b-roll, interviews both on location and in a controlled environment, and usually in tight spaces since I'm in NYC. Here's the general list of what I have: Any must haves you see missing?

BMCC MFT
wooden camera top plate, top handle
cold shoe attachment
juiced link pre-amp
Azden Shotgun mic
Audio technica wired lav
Sony studio monitor headphones
Lenses: 28mm, 34mm, 40mm, 50mm, 55mm mainly a mix of older but clean Canon, Nikons.
baseplate with rods
rod battery attachment for Sony L series batteries
top mount battery plate
Manfrotto tripod (definitely need a sturdier tripod)
cheap monopod
learning that I need a good allen wrench set.. mine is already falling apart.

Any big things that you see are missing?

Thanks in advance!

Fred


[quote="Craig Seeman"]Let's give a specific "challenge" related to the BMPCC

Business: Local Restaurant

Desire: Wants to do a web video and maybe even a local cable spot to promote their business.

Their Feature: Their beautiful "backyard garden" nighttime dinning experience. Also their well prepared food.

Their Concern: They want to show the dinners, not an empty backyard garden but, they don't want the customers to imposed upon.

Your Sales Pitch: They like your reel and they really LOVE your BMPCC. It looks like a point and shoot so they know the guests won't be intimidated. Additionally, the camera is so small you'll have no issue being the way in the kitchen to grab some nice food prep shots. You can edit a web video (about 2 minutes) and a TV Spot 30 seconds) from the same shoot. You win the job because of your reel and you really have a camera that won't get in the way.

BMCC MFT
wooden camera top plate, top handle
cold shoe attachment
juiced link pre-amp
Azden Shotgun mic
Audio technica wired lav
Sony studio monitor headphones
Lenses: 28mm, 34mm, 40mm, 50mm, 55mm mainly a mix of older but clean Canon, Nikons.
baseplate with rods
rod battery attachment for Sony L series batteries
top mount battery plate
Manfrotto tripod (definitely need a sturdier tripod)
cheap monopod
learning that I need a good allen wrench set.. mine is already falling apart.

Assuming you have SSD's, the only other thing that I would recommend is some kind of off the shoulder rig for the tight spaces in NYC. In my experience, as long as you have the juiced link (don't forget 9v batteries) and a solid mic and headphones, you're good.

Matthew

BMCC MFT
wooden camera top plate, top handle
cold shoe attachment
juiced link pre-amp
Azden Shotgun mic
Audio technica wired lav
Sony studio monitor headphones
Lenses: 28mm, 34mm, 40mm, 50mm, 55mm mainly a mix of older but clean Canon, Nikons.
baseplate with rods
rod battery attachment for Sony L series batteries
top mount battery plate
Manfrotto tripod (definitely need a sturdier tripod)
cheap monopod
learning that I need a good allen wrench set.. mine is already falling apart.

Assuming you have SSD's, the only other thing that I would recommend is some kind of off the shoulder rig for the tight spaces in NYC. In my experience, as long as you have the juiced link (don't forget 9v batteries) and a solid mic and headphones, you're good.

Matthew

Great. thanks! Yes I have a 120GB SSD but I've definitely learned that another or a 240GB would be very useful. thanks again! As far as shoulder rigs, yes.. there's been several situations where I would've loved having one and had to use my mono pod. Any recommendations for a nice light weight shoulder mount that you can quickly assemble and break down??

I would look into a shoulder rig you can throw off of your rails-- though personally I throw on a MB and just position the camera on the rails so as to get it on my shoulder.

I would recommend an EVF or a good monitor to help seeing.

Lighting... lighting... lighting.....


Most offices have floro lights which are generally less than ideal color temperature wise and can give racoon eyes. As much as I hate them, a few good LED panels can go a long way for coporate shoot--- extra points if they're battery powered off of the same batts you can use for your camera as then you're not limited to where the outlets are. On top of that some gels for correction, especially + and - greens so you can try to match your lighting to the overheads in there, and color correct it in post. I would also want wider lens, probably a 16mm, and a 12mm, and a 9.5mm.

I would look into a shoulder rig you can throw off of your rails-- though personally I throw on a MB and just position the camera on the rails so as to get it on my shoulder.

I would recommend an EVF or a good monitor to help seeing.

Lighting... lighting... lighting.....


Most offices have floro lights which are generally less than ideal color temperature wise and can give racoon eyes. As much as I hate them, a few good LED panels can go a long way for coporate shoot--- extra points if they're battery powered off of the same batts you can use for your camera as then you're not limited to where the outlets are. On top of that some gels for correction, especially + and - greens so you can try to match your lighting to the overheads in there, and color correct it in post. I would also want wider lens, probably a 16mm, and a 12mm, and a 9.5mm.

Awesome. thanks!

Insomniac, are you in the NYC area. Private message me I might be able to refer you to thing occasionally.

Regarding lights for office shoots.
There's the Litepanels Sola ENG which is a great small Fresnel type LED.
http://www.bhphotovideo.com/c/product/6 ... esnel.html
And Dracast looks like an interesting alternative to Litepanels.
http://dracast.com/pro-series-led.html
the 500 looks like an interesting small panel which is a size Litepanels doesn't seem to have.

I was not a fan of the Solas or the Incas when I last used them. They're clunky and very poorly made. The power supply left a lot to be desired, and they flickered, even when running off of mains @ 1/48th 24.
I also don't like that the focus system is some kind of servo which when it goes, and it will, will be a major problem. Barn doors also badly made and lots of plastic.

I did like their Chroma series of panels which are 3200 or 5600 or salt and pepper. They are reasonable, however, as they loose battery power, they start to flash. They do make a nice ENG carry on kit which can fit in an overhead compartment, and comes with stands and mountings ect. This would be nice for interviews paired with maybe a 1x1

I've got a Sola ENG here and not impressed. Broke foot off once, including some of the plastic. Light Panels sent me replacement foot (several in fact) so i think it is endemic to the device. Also fresnel focus ring is plastic on plastic. Stff to turn and probably would wear out. There is also a fan and I detect noise.

Currently reviewing a Lowel Bender kit. Three light kit with stands (not very sturdy stands) at $2K so certainly cheap. Lights are well made. They seem to output higher than comparably-sized LEDs. No onboard batteries on these lights, so must be powered either AC or with external batteries (12v input).

Cheap LEDs scare me with the green spike. I have several of Richard Andrewski's lights and while there is a greenish cast, a 1/4-1/2 negative green pulls out the tinge.

Good interview light for offices and just generally quick set ups is a Lowel Rifa.

I really like the Kino Divas, when I can get them, for your basic taking head; but they're a bit pricey.

The Flo's are my go-to interview lights. A little harder to deal with if shooting one man band where there is minimal set up time. The beauty of the Rifa is how compactly it stows and how fast it is to set up.

Don't get me wrong, Rifa is great, and for the price of one kino you could get a whole set of them. I'm normally a tungsten guy, unless I'm doing corporate or documentary where I'll be dealing with daylight and power constraints.

The Flo's are my go-to interview lights. A little harder to deal with if shooting one man band where there is minimal set up time. The beauty of the Rifa is how compactly it stows and how fast it is to set up.

Same here. I have access to a diva light through school, and I take advantage of that often.

That said, for interviewing one person, you could do well with even one of the Ikan 3-led tabletop light kits. They don't put out a lot of light, but they do put out enough to light a singl person nicely, and cost only $300 or so for a set of three.

Nice post,..!!

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