Charlie

The best thing I've read in a while. Drunk you is evil but funneh. But giving your approach to filmmaking a good and deep thought isn't so bad.

They would be pretty much exactly the same accept for more moire in the a6000 and it costs more with a speed booster.

Again, it would be nice to see links to the stuff people shot that they where not satisfied with to figure out whats wrong.
And not bad stuff they have seen from others, that has no value what so ever. Im interesting in what they have shot themselves. Unless of course they have never used it and are just posting stuff they think they know about it. But that never happens on forums right..
Congratulations. Its a great camera. Same image quality as the A7, maybe a hair more moire and smaller sensor. But its close enough. And imo, APS-C is almost starting to feel like a sweet spot bellow MF. I hope you have fun with it!   

Exactly! Lowlight on the A7 is worse than on the G7. If you use G7 in 4K, it´s not even a contest. Plus the codec is one of the worst of the last five years of DSLMs. It has an image like the VG10, aliasing and mushy and falling apart quickly. It will look nice with blurred out background though.
 
Charlie, congratulations. I never filmed with one, but there is a lot of great footage outthere. Still I would have recommended the G7 But A6000 with a focal reducer will satisfy your interest in the look of 36x24mm sensor size. You might also consider the codec update to 50mbit XAVC, which gives you much more robust material. cheers
Hallo Yannick, HD on GX85 is not so nice unfortunately. G6 and especially G7 have much better and indeed very nice HD.

Right of course no camera will make a shitty filmmaker better. That’s why for every good example of a camera on YouTube you see a ton of bland/generic/shitty reels of footage. 
It really depends on your workflow/what you want/shooting style etc. If you have your heart set on that camera then get it! Shoot it. 
With the quality of camera bodies available to us my money is going more toward lenses/lighting these days. But yeah man get whatever you want and use it with all its unique quirks/pros/cons.

I would consider the Rokinon/Samyang AF 35mm as a good compact All round with auto focus. Or a used Zeiss 35/2.8 which has serious mojo.

If you want a really good lens that is really cheap, look no further than the 28-70 kit lens.

I have a soft spot for it.(the evf btw is gorgeous).
And now days you can choose between zeiss glass (50% on the used market), affordable autofocus rokinon glass, or dirt cheap vintage.
For stills,
For video,
And a video sample in MF,
 

No. If it seems like a good deal to you to you, then have at it. 
As you say, when you know what to do with a camera, then the one you have is the "best"

I have done my share of free work. And this year I completely stopped with that, and I got 3 times more work then before. And with the money I raised, I can upgrade my toyset and invest in my own passion projects. So in this case I would use these models in my own passion project if I got one lined up, if not I would not bother until I got something going on. 

Atleast consider what you need to do the work into the equation. Your camera wasn't free when you bought it, and it would probably cost you to rent if you didn't have one. Storage and an editing pc isn't free either. Neither is travel, royalty free music, lunch, software, etc... You'd also want to charge some for future investments too. How are you going to afford, say, a new lens through work if you spend all your money working? You'll quickly find these things really add up... This they should atleast cover!
If you're doing it for free you're practically throwing away your hard earned money & devaluing video work in your area, which in my opinion is totally unacceptable.

So much for 500£ per day..
everything is relative guys, you should do some fact checking about the world, not everywhere is London, nor Paris, nor LA.
Socio-economical reality is different, even between territories in same countries. I worked with a Swedish photographer a couple of weeks ago, he is 5 years in the business, while I am 19, he was earning 5-6 times what I earn per year, but then his rent was 2 times mine, his health insurance 3 times mine, he is living in a very organized and well built social state (some people call that Scandinavian Socialism), and while for me it was the coldest days since last March, he went to the pool sun bathing and swimming with other Swedes! What he earns in money, he looses in sun (just a joke, I loved the central-northern European weather when I lived, or visiting places).
In declining economies, like the ones is southern of Europe, with thousands of unemployed specialists from the golden decades of 90's and 00's, and hundreds of new kids coming into business every year, from very bad private media schools, there is so much you can ask. In my 11.000.000 country,  there is officially 29% unemployment (independent organizations say that is more than 35%), and almost 45-50% on dynamic ages, while almost 400-500.000 of highly educated people have left for other countries (brain drain), your bargaining chips are less than you think.
and do think about poorer European countries, middle eastern and African ones, most of Asia, etc. much less than 10% of the world has the ability to earn 500£ on a single day.
@Charlie you did your best, and you have the portfolio to support it. For more specialized advice, I think @kidzrevil is doing something similar, but in New York!
 

They called you, so they like your work. That is very positive,
Show them some of your best videos, be optimistic and positive, but not over do it. Stay humble, but confident with your art and technic.
Pricing can be tricky. Ask them what they want you to do (make a few questions), and you can ask them what is the budget, which is not a joke, as everything has a budget, and maybe additional people or equipment is needed.
prepare a few scenarios with your price, if that makes you feel better.
Good luck!

yeah 650 for 4 days of work including gear. That is a steal. They will not find a cheaper professional. (I have my share of cheap video's in the past, like 5 recording sessions for a band in the studio, which I had to sync each instrument to the video which turned out in a real nightmare so that was a fasttrack to quiting doing video fast ) But I have a fulltime job which pays my bills, and I am doing only interesting video projects on the side. So I rather turn down 10 crappy video's and do 1 decent instead, even if I would make 2X that much.

but ill starve

I'd like to add to the great points everyone's made:
I've learned a ton from forums and youtube videos, (and it's quite a privilege for us to live in a world where all this info is available so readily) BUT, none of that knowledge has been a replacement for the MISTAKES I've made and what I've learned from them. 
Working through the issues that arise on set even on one day's shoot is worth 100 hours of online information, I'd say. This includes dealing with technical problems, working around location limitations, dealing with difficult talent or coworkers, leadership qualities, etc. 
Also, and I have no reason for this other than personal experience and going with my gut, I've found that taking some time to do other creative things like playing guitar actually help tremendously with my main craft.

https://sharpbrains.com/blog/2008/02/26/brain-plasticity-how-learning-changes-your-brain/
Diet also affects learning and behavior. Avoid or minimize sugar, caffeine, tobacco, and alcohol. Detox the body with herbs and supplements. Meditate and exercise every day. This will result in learning anything faster.
Actually creating content is the most valuable tool for learning photography and filmmaking. That's why many famous content creators advise against film school. Their suggestion is get out and shoot- a lot!

In Premiere, select your clip in the timeline (or an adjustment layer above it if you work that way) and then go to the "Lumetri color" panel and in "basic correction" category, there is a "input LUT" dropdown, open it and select brows, find your cube file and select it. you are done. 
Also I recommend trying FilmConvert, with proper profiles of course.
In my very limited experience with log footage, if you want to have accurate colors, you need to "transform" colors from whatever color space the log footage is using to your viewing or output format and it is properly done by the use of a manufacture provided formula (color transform matrix, LUT, IDT, ...) and eyeballing it is not really accurate. I'll be glad to hear more experienced members opinion on this matter.

Another vlog neebie here - got mine last Thursday. I used curves in Premiere pro. i just set black and white points, and added a minor S curve.  looks ok for my uneducated eyes.

If you ask about budget they will always low ball it or say "as low as possible" which is normal. You must provide a price range based on the complexity and level of service. Tell them that you have a wide range of options, that you can do A for $ or Z for $$$, then let the customer pick where he wants to put the cursor. This way you respect his choice.
Also, no need to be too "anal" about the contract because it may deter the client at some point especially for small project like that. Put the essentials (price, deadline, delivery format, license rights, the do and don't etc) but in any case if the client break some small conditions what are you going to do ? Hire a lawyer at $2000 block rate to fight for a $1000 job ?

First how "big" is this project ? Is that for national TV or small web diffusion? Then is that work for hire? Do they provide the contract? What are the conditions? How complex the project is exactly? What delivery format do they want? (resolution, FPS, color depth, etc.) You mentioned monologue, is that a simple tripod interview type of thing? You are not going to charge the same way for a huge project for national TV a small agency that sub-contract the work to you.
Then you must list your cost and expenses:
- Equipment (rental or amortization if you use your own)
- Insurance if you have one
- Tax (federal, state and all other tax that) on your general income (LLC) or corporate tax.
- All other direct fees: parking, transportation, actors, location rental, stock music and footage license if any, etc
You can set your price based on EXPENSES - PRICE = benefit or actual money in your pocket. That's "Invoicing 101" but if your costs are $2,000 you won't make a dime if you charge less than that.
In your quote/invoice break down the costs and expenses so the customer realize all the elements. Mention your base price multiplied by the number of days:
- On site preparation and filming ($200 days X 4)
- Editing and color grading ($200 days X 4)
- Equipment rental (camera, light, etc.) (xxx)
- Actors (xxx)
- Song license ($150 for internet license)
- Studio rental (xxx)
It's very hard to tell you what to charge without knowing the conditions and complexity of the project but don't go the cheap route. First because you will look like an amateur and second because all work must be paid and you can't work for free or for less money than a Mc Donald's employee. I checked your work and I think that you should at least charge $400-$800 per day depending on the complexity of the project. Now if you really want the job for your resume and reference you may want to lower the price but in this case explain why and include a SPECIAL DISCOUNT line at the end of your invoice (eg. 80% discount)
And by the way congratulation for your work.
 
 
 

I would come up with an approximate hourly number that you're comfortable with and use that to create a standard half day and full day rate for quoting clients.  Shooting and editing rates may be different depending on what kind of gear/skill level you have, etc.  Add in (or have available) rates for additional shooters, assistants, rental gear.  There's too much variation in markets to really throw out numbers.  But don't undersell yourself.  If you want this person to be a recurring client, it will be very difficult to raise your prices later if and when this is more than a side gig for you.

Contract should include things like:
Contacts, addresses, dates, locations, delivery format, licensing information, payment terms, total project price, retainer if any, limit of liability statement. Contracts may vary quite a bit depending on local laws, so it's always best to consult with an attorney, but a document with the basics is better than none at all.
You'll want to have model releases for anyone appearing in the video, esp if it is being used for promotional use.  You may need a location release or permit if the location isn't owned by the client.

From what I understand, industry rates for commercial/corporate dry hire non-union camera ops (not even good ones) run about $600/day, significantly more with a kit.
Editing/vfx/color maybe $300-$500/day, more if you use your own computer.
Heck, I know DITS making $1500/day regularly.
Sound, $700/day wet hire.
And that's before a 4-10X agency mark up (what the agency or studio charges the client).
But your potential client isn't hiring at industry rates for a reason. I'd just ask them roughly what their budget is. I wouldn't undersell yourself at $100/day. That'll make them suspicious that you don't value your own time, and they won't value yours.
I wouldn't try to take home a full rate for your first job, but I also wouldn't undersell yourself. Ask them roughly what their budget is or bid a little high and let them negotiate down. At least then they will recognize up front that you respect yourself. But the reason it's a difficult question to answer is that there's absolutely no standard or good answer for this kind of work. Which is why I wouldn't feel bad asking them what their budget is.

Determine what your time is worth for each day, and add 10% for contingency.  Add/list expenses, plus 10% contingency.
 
Hint:  don't list the contingency amount separately -- just include it in the amount you list for your services and also in the amount for the expenses.
 
Have fun!

It's hard to suggest what to charge without seeing your work.

$20 x (the amount of time your going to spend working on it) ...minimum.
If you need a number, don't do it for less than $500.