Some company needs a sound designer for no pay but credit. :lol:

http://losangeles.craigslist.org/lac/tfr/2136858028.html

I get a dozen phone calls and emails a week requesting free or close to free work. After all, it's just audio; you don't see it so it doesn't cost anything, right?

That looks like the producer is looking at someone in film school learning Pro Tools looking for a film credit with an outside production. They're not asking for people with any great degree of experience.

Looks more like they blew the whole wad on production and forgot about audio post. That happens quite frequently.

audio; you don't see it so it doesn't cost anything, right?
Don't try to tell them that 2/3 of video is audio.
they blew the whole wad on production and forgot about audio post.
I see a lot of these where they mix their movie through a student's big beefy studio speakers but never bother to monitor it through a cheap "Mr Crappy" TV speaker, then their final mix can only be turned up to 3 otherwise it starts to distort.

Looks more like they blew the whole wad on production and forgot about audio post. That happens quite frequently.

Very true!

Looks more like they blew the whole wad on production and forgot about audio post. That happens quite frequently.

When your entire budget is practically nothing, saving 1/2 or 2/3 of that nothing for audio post probably slipped their mind.


Remembering you set out to drain the swamp is hard when you're up to your ass in alligators.

Cheers!

-Charles

That's where bartering goods and services with other filmmakers comes in. Do freebies with another filmmaker in exchange for something they can help you with for free in your next production. :)

...and I was once told that I was "very generous" for paying everyone except myself" on Gun Town.

Just imagine the results had I NOT paid anyone?

I'm not sure these posts are of the feeble mind. Perhaps it's fickle to assume that collaboration is a one-way street, or that anybody would/should be willing to work for free without some kind of pre-agreed promise of future work, or further counter-collaboration.

I just think the approach is wrong, not the intent.

Is this really unacceptable? I would have thought a lot of indie movies, especially the ‘no-budget’ kind, would be produced on this kind of teamwork?

Of course, if I were making a no-budget film, I wouldn’t propose that people work for free. I’d ask people to work for a deferred payment, a percentage of all profits made from the movie. If it’s a small crew, say twenty people, if the film ever sells, everybody gets 5% of the money earned. Plus, that way, everybody has their name on the credits of a produced film, that has actually been distributed. You’d obviously have to warn people that they may never be paid if the film doesn’t sell! The crew you assemble would need to be passionate and happy to work for free. It's up to the individual if this is for them. I thought that was the way a lot of people worked?

Is that bad? Is it wrong to even suggest doing this?

I don't think it's unreasonable for people to ask for people to collaborate for free. I think it's a little unfair to criticise them for asking; if there's a possibility of saving money by working with someone in a no pay collaboration then why not at least try?

If no one replies then no one replies and your point is proven that it's an unrealistic demand. But if I was a young sound recordist then these sort of gigs would be my bread and butter. What I agree with PTP about is that if I was taking on a job like this for free then I'd want assurances that this could turn into a fruitful collaboration and not simply me turning up for the job, getting a credit and then being waved goodbye to. Collaborations should be creative and productive for all parties.

I'm going to put my two cents in with the other Brits on this one… if they can find someone who likes the project and wants the experience, where's the harm in asking? They're not asking for someone with a massive showreel or full-blown studio, just someone who wants to learn.

I'm going to put my two cents in with the other Brits on this one… if they can find someone who likes the project and wants the experience, where's the harm in asking? They're not asking for someone with a massive showreel or full-blown studio, just someone who wants to learn.

This.

I know the advent of Craigslist makes all of these little collaborations more visibile, but really it's nothing new. I had to turn down an internship at a recording studio many, many years ago because they wanted someone FULL TIME for no money. Working maddening hours as a sla.. er intern.. for no money and even less respect is, for better or worse, a staple of this business and has been as long as it has been a business.

What people need to stop doing is thinking of Craigslist as a "jobs" site. Sure, occasionally shows will crew up on the List - but more often jobs are word of mouth recommendations, repeat business (hired back by the same folks), or on other sites like Mandy, Media Match, or just not posted online at all.

Craigslist is great for collaborations of all shapes and sizes, but we would all do well to remember that not all of those shapes or sizes will fit with our current place in the industry.

The other side of this coin is that, yeah, there are a lot of asshats out there on the List who do exactly as Alcove described - try to get as much for free as they can. Usually the differences are easy to spot in the posts.

Honestly, to call it "slave labor" to ask for free help is a bit ridiculous. Almost everyone has helped out someone else for free on a project. I solicit free help as editorial assistants every single year, and will again this year.

Looking for volunteers is nothing like being a "slave". It's insulting to compare involuntary forced labor to asking for help without pay. Ask anyone who's heritage have ever been actual slaves. They might find it extremely inappropriate to make the comparison.

Not every project has the money to pay everyone. Using Craigslist to make your needs known is hardly a nefarious act, especially since they are honest and up front that it is for no pay in the ad.

What exactly is wrong with that?

-=-=-=-=-=-=-=--==-=-=-=-=-=-=-=-=-=--=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-

http://sonnyboo.com/images/sarcasm.gif

and sound is sooooooo unimportant to film. It's the lowest priority because you don't see it, so who cares what it sounds like? If each camera angle has different room tone, no one will notice because the writing and acting are soooooooo amazing, right?

just about every craigslist post in Las Vegas is like this :)

Just to add a little fuel to the fire... Did anyone go to the website of the aforementioned ad? Did anyone check out the IMDB credits of anyone involved with the project?

The IMDB credits are impressive for quite a few of the cast and crew. Not big names and big productions, but solid experience. I would guess that at least the key crew were paid, and possibly some of the cast. Quite a bit was spent on doing things right if the trailer and website give any clues.

Now, I know that I am biased being an audio post guy, but audio post production is the only post craft that requires - not needs but requires - specially built rooms and large amounts of real-time processing to accomplish its job properly. These requirements are expensive. My room is not Dolby or THX certified, it's not even 5.1; yet just sound isolation and treatment cost me over $20k, the speakers over $2k. A certified dubbing (mixing) facility can cost many hundreds of thousands; the speakers alone can cost more than my entire facility.

I'm sure that they found someone to take on the job, but I would lay odds that they are not going to get the quality that they put into the rest of the project. And that's my point if you follow the precept that "Sound is half of the experience."

You always get what you pay for. Well, there's a killer deal here and there, but basically you always get what you pay for.

People ask actors all the time for free stuff for independent work and they're the "face" of the movie. Not saying that they're the single most important, everything plays a part so when anything lacks, everything lacks.

When you're honest up front, nothing wrong asking for free stuff, but you get what you pay for.

Just to add a little fuel to the fire... Did anyone go to the website of the aforementioned ad? Did anyone check out the IMDB credits of anyone involved with the project?


Exactly. I think the crux of the matter is that I'm talking about a different, admittedly less common, scenario from the one in the sample ad.

Reading that ad I can tell it's pretty much exactly as your interpretation would state. The dude blew his wad without thinking about it and is going to have a crappy post mix as a result.

That's the common side of the List; which is why I always say that one should not think of it as a site to find jobs. It's worth a peek to see if something good is happening, but by and large the gigs there are cut-rate at best, complete cluster-intercoourse-sessions at worst. The latter scenario is by far the most common on the List, and the jack-wagon that posted the ad linked here is no exception.

Having said that I'll see your fuel and raise you a stiff, fire feeding breeze. :) Craigslist has it uses, as does donating your time to projects on a very selective basis. It should be done with specific goals in mind if you are going to get involved with people you haven't worked with before.

Example:

I frequently work for a guy that runs a small production house the Bay Area. Lots and lots of corporate video work. One of my most reliable gigs actually, looking at long term history.

Once upon a time he had a short film side project that he wanted to direct. A producer friend of his (a real one, not some poser) brought him some script that they really loved and already had actors in mind.

They needed a 1st AC, but there was no budget for one. There was barely a budget for the project at all. He posts on Craigslist, I respond because I'm at my transition point where I am working paid PA gigs, but wanting to get more credits in the camera department where I really want to be. We chat for a bit, I come to his office, do a prep day and see what his company is all about. I do the shoot day, work 14 hours - unpaid - say "Thanks very much for the day, was great working with everyone," and head home.

A couple weeks later I get a phone call from him, "Hey David, are you available on day X, and by the way, what's your day rate?" That was a couple years ago now, and I continue to pull work from him, a lot. We also just did a music video last november for his band on which many of the crew were volunteers. We've had some interesting conversations the last few times we've worked. Certain aspects of his goals are turning out to be very convenient for me and approaching my goals.

All because I responded to what a lot of people in this thread would have called a "slave labor" ad.

Now here's an extension:

By virtue of that connection, I repeatedly worked with a grip who I sort of knew from a feature where I was a key pa/coordinator. He also ACs and is an unmitigated bad-ass. After a while he asked me if I was available to sub for him on this show that he ACs. That job puts me next to an incredible DP with tons of experience and very well respected in this area. That's also turned into a very good repeat job.

Which, by the way, has netted me two other shows by virtue of people I met working on that show. In fact, when I phone interviewed for my current gig, the line producer even said to me, "We're very interested in working with you, I see that you have assisted for <Insert DP name here>. We tried to get him for our show but he wasn't available"

Anyone noticing a pattern here? :)

Craig's list is where you go to roll the dice and try to make some new contacts, or make a semi-lateral shift between crew departments. It's not where you find jobs. The people you meet are where you find the jobs.

The trick, as Alcove smartly implies, is being able to suss out when you are reading an ad from a jack-wagon, or when you are reading an ad for a legit passion project that is going to get you actual real work down the road. Evaluating the PIE. That's what it's all about. Almost everyone I've ever met in this business did some amount of unpaid work early in their career. Many still donate their time to certain projects, or at the very least provide their services at a rather steep discount. Of course most of those interactions happen outside of CL because the people already know each other, but still.

Edit:

I want to add a short bit about the other side of the coin. People who show up for these side projects with a ton of "Well, I'm not getting paid, so I'm doing you a favor" attitude's generally don't get the call for paid work when it comes around. Folks who bust their ass no matter the day rate (or its absence), who aren't trying to be the smartest guy/gal in the room, who don't bitch about the long day, who are generally pleasant to be around, who know their job and can do it well under pressure. Those are the ones that get the calls back. This biz is a two way street, and yeah there are a TON of jack-wagons. But there are also a ton of great people who love the work, and sometimes they need a few extra hands they can't actually afford.

Fortunately though, those folks are smart enough to know that putting money into the post audio mix is right up there with paying with any other "key" crew.

I'm more bothered when people advertise for 'unpaid internships.'

By law, internships must either pay money or provide education and training as well as school credit.

Many people out there advertise for interns but really all they want is an unpaid gofer. Just be honest in your ads.

<snip>

http://britfa.gs/b/src/129139317818.gif

A friend just sent me this…

http://i.imgur.com/EmwTz.gif

Yeah..... that might be the worst thing ever haha.

Holy crap!
Full time editing for three months for no pay... I feel guilty asking for one or two days free from a PA.

Re. A friend just sent me this…

Ho-leee shhh...

People are just absolutely crazy.



As an ongoing thought I find myself frequently revisiting lately, I find it frankly bizarre what people will and are not willing to spend money on in the pursuit of filmmaking.

Sure, they'll spend money on cameras, lenses, lights and whatnot hardware from a retailer, physical or online.
They'll spend money on gas for transportation to and from locations.
They'll spend money on permits and festival fees.
However, for labor, either in front of or behind the camera, there's just an ever present systemic perception that it's all kind of... discretionary, even when that labor involves the usage of the volunteer's personal assets/materials in the above case.

Now, no one in their right mind would call Adobe software and ask for a free copy of their editing software to make their film.
Likewise, no one's going to call Canon, Sony, Hewlet-Packard/Apple, Tascam, B&H Photo, etc. for hundreds or thousands worth of products to make their film for "film credit".
Yet these director/producer/dreamers think nothing of asking for comparable value in labor with only "film credit" as compensation.

To carry the process full forward, would they expect zero compensation from a distributor for their final product?
"We'll give you credit for directing/producing it. Only offer."

It's inexcusably weird.

We are indie filmmakers you have to seek out those whose careers are at the same level as yours. One prospective cameraman wanted to charge me a seemingly Speilburg rate and told me a feature takes 28 days firm. Well, those numbers with his day rate work out quite nicely for him. But he's already made the film inpossible for me to make by taking all the money away from canteen, sound and other areas. I did see the conflict in his dictating the terms of the film shoot. Well, my feature took 14 days so we were able to fairly distribute funds to all areas. If he was Speilburg material, then he was simply too much cameraman for us, and we got done what we wanted for less than half his fees with me having to work a little harder also.

And that's what I tell prospective wedding video clients. If they want to only spend $500, then I tell them we bring up to $10,000 worth of equipment for each event and if they simply want a little of the cake cutting and a little dancing filmed, then we are probably too much videography for them or their smaller event, and I recommend someone in their price range, letting them know they may not have wireless mics or other equipment we may use. Because the truth is we would be too much videography for their needs.

I'm sure that like me, most indie directors have a list of credits at the end thanking those who have provided school campuses, restaurants...etc., because the truth is many of these films would not happen without people giving. It's the nature of the business. Otherwise, they never get done.

In a shameless self promotional plug....

About 70% of the budget for my web series (kickstarter in my sig) is crew/actor pay. None of that pay goes to me, the producer, or the audio director who comprise the "production company".

Find good people, pay them, it's worth it.

1) the posters (including myself at times) are up front about the compensation.
2) the potential respondents are perfectly capable of saying no thank you.
3) slavery precludes choice on the part of the slave.

I've worked for free and asked people to do so as well. When beginning, we gain information (often for free), then experience (also often without compensation) to boost our portfolio. I'm a decade in, finally to the point where people are contacting me rather than me having to create my own projects. I'm still working for free, but my professional portfolio is finally getting to the point where I can start getting jobs that pay.

Complaining about it as a problem belies the fact that there are legitimate transactions between people who either don't have access to the paying productions, or the funds to create their own paying productions. Those of you with paying jobs are in an enviable position to be able to look rom that position and say how wrong it is to ask for help (or to help) ... but for some of us, it's the only option for building our portfolios or skill sets.

MN has a huge film community, but the people getting paid for it, travel to the coasts to work. I (and I'm sure many others) don't have that luxury until the positions pay enough to support the travel, my mortgage and my family.

In the ridiculous post above for the editor/colorist, I'm sure they will not be able to find anyone who has made that kind of investment in equipment willing to work for free, so that problem solves itself.

I stopped seeking crew on Craigslist, because as soon as you ask for help, some jackhole flags the post and it gets taken down. It's a decade later, over a dozen productions at various levels of success, a cast/crew of 40-50 people many of whom call us and ask when the next one is... the whole time, we're working toward larger budgets that could afford to pay everyone, but so far, all out of our pockets with no return on investment. Not all of our crew wants to make the transition either. I've had conversations with members who want it to stay weekend fun for them a couple of times a year.

Payroll requires existing income. Not every production has it. This stuff is a personal sore spot as it's a legitimate transaction with compensation explained up front, and the ability to say no.

I think most in this thread have stated that it's ok to ask for free help a lot of the time.

The complaint about that craigslist ad is how he "asked" and the extend asked for. Sure he stated it's unpaid, but in the most ridiculous, over the top borderline offensive way you can. Asking people to volunteer an afternoon or a weekend for nothing but food in return is one thing, even asking a camera guy to bring a camera for a day is one thing (speaking from experience on both sides), but demanding that you have $50,000k worth of gear, years of experience and are a doormat for the privilege to spend 3 weeks just reviewing footage, then another 3 months editing 3 versions for a single thank you in form of a credit is demeaning to both working pros who invested the past ____ years and $_____ in their trade and the newbie/hobbyist looking for a break.

Also, credit should never be considered any form of compensation. It shouldn't even have to be mentioned in a for-hire ad. If you spend so much as 10 minutes, let alone 3 months working on a project you et credit. It goes without saying. Even commercials and formats that have no formal credit roll, you get credit for.

Yeah, it's more that somebody had the balls to actually post this and/or the stupidity to think anybody would do it.

Some company needs a sound designer for no pay but credit. :lol:

http://losangeles.craigslist.org/lac/tfr/2136858028.html

The link didn't work for me.

There are those that will search craiglist for jobs and complain all day about the "slave labor" or what we call in the industry (interns) Half the people in my first few films did your so called "slave labor" and are now successful in acting, Dp, UPM, while the others that complained about working for free are still washing cars. Now I know there are the stupid ones out there, but it would be your fault for not looking at the credits of the person hiring.

^ This comment is not directed to anyone specific, just the idea this "Slave Labor"

If i'm going to provide let's see...

40 hours a week (would be more of course) for 12 weeks... so 480 hours.
We'll figure a CHEAP editors rate of about $25 an hour.
That comes to about $12,000 of free labor.

It better be Harvey Weinstein on the other end of the phone.

My dad always said, "it never hurts to ask"... I'm just miffed about the hubris of the folks who get offended by the craigslist posting and rather than "not responding", pull the other person's post down... pisses me off a bit.

My dad always said, "it never hurts to ask"..

+1

Although that screengrab Chili posted is a bit beyond the pale. lol

It doesn't hurt to ask for sure. It's just so funny in it's "So after you wash my car, do my laundry, cook me dinner, get me a beer, and give me a massage, how about a BJ", ballsiness.

It doesn't hurt to ask for sure. It's just so funny in it's "So after you wash my car, do my laundry, cook me dinner, get me a beer, and give me a massage, how about a BJ", ballsiness.
Do I get "Film Credits" for all that? :blush::lol:

wm7D5VRfaTI

I agree with Gonzo,

In some ways, being a sound designer and final mixer for a large film is more dangerous and difficult than being a lawyer on a high-profile celeb murder case.

In some ways the mentioned ad is equivalent to someone crag-listing the position as OJ's defense lawyer "to work for free and you'll get credit for it".

A lot of people don't give sound design or mixing the credit for being an extremely demanding and skilled profession.

In some ways, being a sound designer and final mixer for a large film is more dangerous and difficult than being a lawyer on a high-profile celeb murder case.
Amen to that. It's very tedious work. And you must keep backing up your work to secondary drives.
Half the people in my first few films did your so called "slave labor" and are now successful in acting,
Acting is the fun stuff. Everyone wants to be a star. A sound editor job is hardly as glamorous.

A sound editor job is hardly as glamorous.

Nobody notices sound - unless it sucks....

Oh yeah :cool:

http://orangecounty.craigslist.org/tlg/3024098185.html

Writer/Director in need of actors for short films.

Cannot pay you nor feed you. This is about making short films and bettering myself as a director and yourselves as actors.

At least (s)he's upfront. :yes:

Nobody notices sound - unless it sucks....

The focus puller in me can totally relate. :D

The focus puller in me can totally relate. :D

There's nothing quite like half a dozen people crowded round a monitor all shouting "SOFT!" at the same time :D

We are indie filmmakers you have to seek out those whose careers are at the same level as yours.

I don't mean to pick on you Maurice but this is the mistake made by many indy film makers. Many people on Mandy or Craigslist are looking for people of their standard to do sound design and mixing. Very commonly, as with the quoted Craigslist ad, "someone with experience" and ProTools to work for free on a project intended for film festivals. Going for the film festivals means the film will be played back in a cinema and this is where the big problem lies. Let me quote Alcove and then explain why it's such a serious and common mistake.

... audio post production is the only post craft that requires - not needs but requires - specially built rooms and large amounts of real-time processing to accomplish its job properly. These requirements are expensive. My room is not Dolby or THX certified, it's not even 5.1; yet just sound isolation and treatment cost me over $20k, the speakers over $2k. A certified dubbing (mixing) facility can cost many hundreds of thousands; the speakers alone can cost more than my entire facility.

Due to the fact that Dolby is the only sound format supported on 35mm film, all cinemas have Dolby decoder boxes. To create a 5.1 Dolby mix legally requires a Dolby approved dubbing theatre which is going to cost roughly $2k - $10k a day, plus the Dolby festival licence which is roughly another $10k. Most indy film makers consider a Dolby mix too expensive unless their film has a substantial budget. So, many film makers opt for stereo, not realising that although stereo has been the standard for music and TV for decades, it hasn't been a supported standard in cinema for nearly 40 years and therefore has it's own set of complications! Anyone who hasn't worked extensively in film sound mixing (including recent audio/music technology graduates and experienced music producers) is going to be completely ignorant of these complications, let alone have the experience and equipment to overcome them!

So working with people "whose careers are at the same level as yours" will result in a film which hopefully looks and sounds pretty good (or better) in the edit suite and studio but which is likely to be rejected by the festivals because the sound is not up to spec. Or worse, it is accepted and then sounds dreadful, with sound and music coming out of completely the wrong speakers at the wrong levels (even though it sounded great in stereo).

If anyone is aiming at the festivals (or any cinema distribution or TV broadcast), you really don't have much choice but to hire some well equipped, experienced audio post professionals and even then, you're still running a risk (albeit a reduced one). I'm not just saying this because of my audio post bias, it's been mentioned here before that the most common reason for festival rejection is problems with the sound and very often not for reasons which were obvious in the studio or edit suite!

G

Thought this would be appropriate for the thread:

80EqI-VjmLA

I made a collage of BS craigslist adds. it's just the tip of the iceberg.

http://i556.photobucket.com/albums/ss9/Hiddeto/craig.png

My favorite is director with camera needed, no pay. I'm sure they got 200 submissions anyway.

Someone needs a hug. :mope:

But (s)he's right. ;)

http://losangeles.craigslist.org/lac/cwg/3098420510.html

Have you noticed that nobody asks for free car repair? Or someone to re-roof their house for free? Yet dozens of wanna be filmmakers want experienced professional crew people to work for free. That's fucked up.

And if you are a student...Get your fellow students to gaff, grip, shoot your stupid little student film. That's the point of film school. Especially you USC thesis directors. Take some of that 6 figure tuition and pay your fucking crew.

Teachers are the highest paid people on indie sets. At least they won't bend much on compensation pay.
A friend of mine is a teacher. In California it's the law that you must have a teacher on set if children are working. He told me a story about a student film maker who got really angry and frustrated when he wouldn't work for her really low rate. He could tell that she had probably already been rejected by other teachers who wouldn't work for so little.

i agree with sonny on everything he just said.

MANY productions are made where no one gets paid... then if the project is successful, sometimes they get paid afterwards, or still not at all... either way, it's still a great thing to have on your resume, with your name in the credits

This one's just tongue in cheek the whole way:

http://orangecounty.craigslist.org/crg/3113300553.html

I'm looking for a computer video slave and I'll only accept the best of the bestest.
Send me all your information and line up to get shit on.

Must pay attention to detail, be organized, properly socialized, and have notable personal contacts in industry.
Must have experience editing Webpages, Social networks, and high res photography.
Must have at least 5 years professional experience using, AVID, FCP, VEGAS, PremeirePro, ProTools, LOGIC, Resons, After Effects, Dream weaver, Illustrator, Photoshop, Lightroom, SMOKE, and Maya autodesk.
Must have experience with MS office, MS Money, Quickbooks, inDinero, Xero because you will be doing our accounting between editing video and answering our inbound phone calls, fetching lunch, and taking all the deadline heat for not producing professional segments fast enough.

Oh fuck it...If you are not a graduate arowspace engineer with a 3D AutoCAD demonstration, don't even bother applying.

:lol:

Teachers are the highest paid people on indie sets. At least they won't bend much on compensation pay.
A friend of mine is a teacher. In California it's the law that you must have a teacher on set if children are working. He told me a story about a student film maker who got really angry and frustrated when he wouldn't work for her really low rate. He could tell that she had probably already been rejected by other teachers who wouldn't work for so little.

*welfare worker

Some work for free, on USC shoots anyway.

Heard a story about a student film involving shots where a kid sits in a bath (filled with water) with fairy ligths (turned on) wrapped around his neck. The parents, who were on set had no issue with it.

The welfare worker did..

In the NYC area, most (although certainly not all) indie movies are shot in the summer, because we don't have the good year-round weather of LA.

A side benefit of that is not having to worry about a teacher as school is not in session.

On the other hand, everyone wants crew & equipment at the same time...

Here's a good one:

http://orangecounty.craigslist.org/cwg/3472169937.html

Who wants to film a doc in Cambodia, not get paid, and have to buy your own round-trip plane ticket, hotel & food expenses? I bet there's a long line for this one. :yes:

The airline ticket would cost: 1100
Mission cost is: 750 (this includes a 3 day excursion to Angkor Wat), double occupancy hotel rooms, food and transportation.
The aim of the trip is a feature documentary.

LOL. It's gotten so bad that we now have to PAY to work on movies!

Someone got a little mad with the dude who advertises his $500 RED package on the OC CL. Reached his breaking point, when an even newer Black Magic dude started up too. :yes:

http://orangecounty.craigslist.org/cwg/3696040139.html

Douche+Red Scarlet/Zeiss ARRI Lenses Available (InlaND GOON)

if its not the douche bag claimin "DoP+Red Scarlet/Zeiss ARRI Lenses Available" now we have this guy that just got his glorified 7D -BlackMagic cinema camera-- because all pro cameras have a built in battery - and you plug them into your car lighter to charge them.... wow - saw your equipment list - did you get the Handle Mount too ... oh boy!!!! Maybe you can hook it up with DoP+Red Scarlet/Zeiss ARRI Guy and head out to San Berdoo and make some more videomovies with the chimps... their gonna be rap stars ... boy, then you can shoot 2 angles of sh#$%t.... Man is craigs list a hoot -- I'm thinking of a tv show where we go out and meet the witless protection program goons... see what these people do with the rest of their day when their not dreaming of working ona real show witha budget over a $1000.... Every thing I've ever seen on herer has a budget for Craft Services ... but no budget for the shoot... OK boys start the FLAGGING because we all know the truth hurts... but in the mean time keep working because you never know BLAIR WITCH PROJECT lightening could strike a second time.... yeah right...dont bet your DSLR REBEL kiddie cam....
as FAR as PAY is concerned - there is NO PAY EVER....because -sorry to say - as you were blinking , your neighbor just got his new CANON REBEL Mark 12 and he's now a DP/ Producer/Director and editor ( almost forgot I MOVIE) TOO..... welcome to the game

lol he mad. :lol:

It does suck to sift through a zillion unpaid gigs when ya got the mortgage to pay, though. :)