Film crew working practices, wages, and rates across different countries in response to runaway production

Gear

ZephyrCan I fly my Alexa or RED on a Zephyr?389

Master SeriesIs a used Master Series rig worth buying as a first big rig?191

BFDHow do I power my BFD receiver from my camera or sled?186

VoltCan I retrofit a Volt onto my existing sled or gimbal?168

ArtemisHow do I power my camera and accessories from an Artemis sled?166

MDRWhere can I mount my Preston MDR on my rig?143

ModulusIs there a Modulus option for HD wireless video?141

G-70Will my G-70 fit my vest, gimbal or sled?126

FI+ZCan I control iris and zoom wirelessly, not just focus?60

HU3Where can I get my HU3 repaired, refurbished or repainted?60

CineLiveHow do I pack and case my CineLive rig for transport?54

G-70XHow does the G-70X compare to Pro Titan, Xarm and other arms?46

Trinity 2Is Trinity 2 SUP 3.0 firmware safe to install or buggy?46

Ultra VestWhich vest should I choose for my body size, comfort and operator type?39

2004Legal / Business Practices forum

22 years old. Gear and prices may have changed since.

DisputedParticipants disagreed and reached no conclusion. Read the findings as positions, not as an answer.

In Australia, standard practice involves a 50-hour week across 5 days working 10 hours per day, with overtime calculated at 1.5 times pay for hours beyond 8 per day, and meal breaks required every 5 hours
Workplace safety laws in Australia limit the maximum hours crew can work per day, which protects worker safety but can be circumvented by producers extending work hours
In the United States, producer practice varies but often involves 12-hour days with meal breaks after 6 hours, and market rates for specialized operators vary significantly based on experience, location, and project budget
Steadicam operator rates in New York ranged from $1,000 per day for equipment packages to $80-140 per hour depending on project type and contract terms
Industry rates and conditions in Los Angeles have declined in recent years due to saturation of operators and runaway production, with most operators now negotiating from offered rates rather than stating rates
A resource document on working practices worldwide was available on cinematography.net to help compare international standards
Union contracts through IATSE provide benchmarks for working conditions and rates in the United States and Canada
Production companies are increasingly compressing shooting schedules without reducing workload, requiring crews to work longer hours to complete the same amount of work

Information provided was from 2004 and reflects conditions and rates from that time period
The discussion focuses primarily on steadicam operators and camera department rather than all crew positions
Rates quoted represent experienced operators in major markets and may not reflect typical entry-level or regional rates
Specific regional practices from Prague were not provided despite being requested in the discussion
The conversation reflects disparate experiences and perspectives from different operators, with disagreement about typical rates and market conditions