Drew Allegre

This sounds a lot like people said when everyone realized the 5D2 had pattern noise in shadows (in raw stills).  I'm not sure what the defensiveness is about, esp from a guy who generates clicks ranting about certain camera brands.  It's proven pretty useful to know when and how an image falls apart and how that compares to other known quantities.  

This sounds a lot like people said when everyone realized the 5D2 had pattern noise in shadows (in raw stills).  I'm not sure what the defensiveness is about, esp from a guy who generates clicks ranting about certain camera brands.  It's proven pretty useful to know when and how an image falls apart and how that compares to other known quantities.  

That's too bad... for them. Seriously. I've found, through experience, that clients that lowball like that are also the biggest headaches. They likely would have piled on extra requests, wanted infinite revisions to your edits, etc. that would use up more of your time. If they can't come up with 650 for three days of work, they aren't valuing their own business very highly. I have no doubt they will find someone cheaper, but the end product will look exactly like what they paid for it.

In other words, don't feel bad and DON'T feel like you should ask for less for you talents!
 

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.

I would think an A7s or A7sII would be a good choice.  Excellent at high ISO, very respectable output for both photo and video.  12MP stills should be enough for music/performance art type photography.  Downside is full frame lenses are generally larger and more expensive.

Power is definitely an issue.  I could see buying a cheap used phone for this purpose (or a couple - keep one charging on a powerbank).  Still possibly a viable alternative to something like a SmallHD 502.

That said, the Oct release date seems pretty optimistic, esp for iOS.  It sounds like the iOS app is still in development, and Apple's approval process can take awhile.  Also, it sounds like the unit itself isn't even out of prototyping, so the Oct timeframe seems really short.

Hi,
Wanted to make something new so I worked on this video for several month.
 
Most of the tilt-shift effect is simulated in post (masking in AE), it's not as good as the real out of focus blur created by TL lenses but much more practical than having a huge drone carrying a DSLR camera. I also modded a GoPro lens that was mounted on a custom made drone (TBS Discovery with Pixhawk FC) to get the "native" effect. The inspiration for this project came from Keith Loutit, the god of tilt-shift timelpase.