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🙏🙏

I charge highest £675, but went out at £300 p/d for years, but had people in my inbox asking for €800 and even €1200 per day.

@@ScottPetersFilms thanks for getting back to me Scott! Wow those are insanely attractive dayrates in my eyes. Seems like a great option as a freelance dayjob to pay the bills (rather than my current £15/hr labouring) whilst working on personal creative projects. Could you recommend how to get into this? I know Resolve basics and have an M1 macbook pro. Even £200/day freelance work would be life changing for me

@@ScottPetersFilms Thank you for getting back to me Scott! wow those are incredibly attractive rates to my eyes. Seems like being a freelance remote editor could be the answer to a day job (rather than my current £15/hr labouring) to pay the bills whilst pursuing personal creative projects. What do you think? How would you advise to get into this? I have an M1 + basic Resolve skills. Even £200/day freelance would be life changing for me. Cheers

@@73jayzee you'd need better than basic skills if you want to do it full time, but keep practicing and start building a client base. Don't just quit and try and go full time before you've already built a client base of at least semi regular work. I used to work freelance along side my full time job on evenings and weekends, best way to do it.

Thank you 🙏 glad it’s proving helpful :)

No problem 😊

🙏🙏

🙏 will do

🙌🙌

Very kind of you to say! You’re very welcome 🙏

I had to look up “neophyte” great word

@ same

It sure is 🥹🥲

🙏🙏

😂😂

I appreciate that!

80% of the 6 minutes of iPhone footage I captured over 3 days in order to make up the 4 minutes of BTS footage that feature in this video was captured in between set ups and at the start and end of each day, and even when I remembered to take a grab of the monitor whilst we're rolling I'm a drummer... so more than capable of pressing record on my phone and watching the take to give feedback at the end of it. My green screen mess up... I mean who can say for sure that if I hadn't occupied the part of my mind outside of my job that is this channel then maybe I wouldn't have forgotten that, but I'd also argue who's to say an argument with a girlfriend or my hospitalised dad wouldn't have occupied that part of the mind instead. Also in this particular instance, the shot I balls'ed up on was an above and beyond bonus shot, that the client wouldn't have known if I hadn't suggested it, and as a director on this job it's not strictly my wheelhouse to know about the shutter speed green screen situation, it's just because of my experience as a DoP and After Effects artist that I do know this. You're right it is a team effort, and I went above what I know for a fact most directors on a job of this scale would do in helping to load in and pack down kit as well as spending hours of my time assembling, moving and helping to dress props for art department, but there's obviously no footage of any of this because my hands are full. The bigger a crew gets, the more people are expected and on a few occasions asked to stick to their own department, but I felt confident enough in the little prep work I HAD done to know that I could go an offer my time to other departments, and I went to both camera and art department heads multiple times and asked "what can I do to help". Even though the client wouldn't have witnessed most of this outside of my job title help that I gave, they all said multiple times to me and to the producer post shoot about what a "great" job I'd done on the shoot days. They didn't get a half arsed video, neither did they think that, they all seemed pretty genuine with how pleased they were with the end results, it was just the concerns with art department not being what had been agreed and not looking like what they'd wanted as a result of that as we went along that were the only issues they had, but we all worked to help rectify those best we could on the days.

Appreciate it!

Hard to honestly say before I do my full end of year review in a few months, but I've certainly made similar amounts financially and have not had much time off so I would assume so. There are certain companies I may have got regular work from a couple years ago I don't get that regular work from anymore, but then there are other people I get more work from and new people I've never worked with before.

@@ScottPetersFilms Gotcha. I was curious if things slowed down in your part of the word. I'm in the midwest part of America. Things have stayed the same for me. I also voted on your poll.

Thanks for watching Andrew!

Thanks Terry!

Glad you like them, thanks for taking the time to comment!

Appreciate it <3

30 kids sounds like a nightmare 🫠

Something I think about far too much. No I haven’t been experiencing that, but I’m in the minority it would seem, there are certain members of crew I work with that will talk about how they haven’t worked much last year, but I also know a ton of people that have been as busy as I’ve been… it’s a weird time in the world it would seem.

I would have had it much truer to the colours we had in camera which were ultimately richer, crunchier in the contrast, less lifted shadows, less peaking highlights 😁

The sound bite you hear is me talking to the DP not the kid, but thanks for the advice. The grade was an in-house choice after our hands were off it, not what anyone was seeing in the monitors on the day, and art departments mess ups were nothing to do with budget.

@@ScottPetersFilms Nice. Its was not advice. it was a question - as you explained you were chatting to the DP not the kid :) On the grade I wonder if they took it to an old school (and expensive) 'suite' and it looked great in that suite.. but not on the devices you me and the audience are seeing - nothing to do with the on set experience which was I guess a mix of log and lut depending on where/whos monitor.

ps Eagle Wharf.. legend :)

why would you ever think that he's talking to the kid ???

🙏 it IS a ball ache, I rarely capture as much as I intend to, but thanks for the appreciation.

Sounds like a cream might be in need for those aches 😜

You’re very welcome Josh!

You’re most welcome! This is captured with the Panasonic LUMIX S1H, with a 35mm Sigma Art lens and lit with just the one Amaran 200d S and a soft box.

@@ScottPetersFilms a very nice look 👍

It’s something I’m very slowly working one, but I don’t currently know of one. I’ve taken all of the Masterclass’ with Directors, but they’re all quite vague to be honest and not massively helpful with commercial directing. Worth looking at though if you can afford it. Other than that watch everything on my KZbin, some of my friend Nur Niaz’ channel is great too.

@ thank you! 🫶

Appreciate that Sebastian, warms my heart

All those notes, plus more contrast, the colours truer to what they were in camera, less peaking highlights, not sure why that was done, and I always like a bit of grain emulation in my grades, but understand that this particular choice wouldn't have been on brand for this spot.

Very well put, 3 out of the 4 of these kids were amazing on this tbh, there was only 1 off them that fits you description to a T, but we got what we needed with enough takes :)

You’re both probably right and also very mean. Keep calm and carry on!

@@ScottPetersFilms "Adapt or die"

Consumers will have a vote as to wether or not they want to be “lied to” by AI

Best work is so hard to come by! You have to almost fight for it.

I've so far been living by "ask for forgiveness rather than for permission", and so far only once had to remove something. But I try to be fair and honest, and if they're not someone who I work with regularly and is aware I'm creating content I will blur their names and faces. And then when there's an NDA in place I've not created anything. There's some great jobs that would have made for great bts that you'll never see :(

Thanks Ian :)