Television production pay rates and rental terms for steadicam operators

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

2010General Discussion forum

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

Producers attempting to hire steadicam operators on operator scale only with per-day equipment rental instead of standard weekly rental rates.
Industry standard practice for steadicam work involves a guaranteed combo rate for five days per week plus weekly equipment rental, not day-rate pricing.
Producers sometimes request renegotiation after three weeks if steadicam usage exceeds expectations, creating unfavorable conditions where operators cannot reciprocally renegotiate for higher rates.
Some producers strategically position experienced operators as B camera to justify cutting them early in the day as a cost-saving measure while retaining cheaper operators.
Accepting below-standard rates and rental terms can devalue compensation across the entire steadicam operator market.
Operators who collectively decline unfavorable offers maintain stronger negotiating positions than individuals accepting lowball deals.
New York television productions typically pay ten to fifteen dollars per hour more than Los Angeles for equivalent work due to cost of living differences.
Steadicam operators may face reduced availability of television work if they refuse to accept below-standard terms on local productions.
Some pilots and shows offer competitive hourly rates but attempt to compensate by reducing daily equipment rental fees below market standard.

Discussion reflects only Los Angeles and New York market conditions circa 2010.
The thread focuses primarily on union or professional-level steadicam work in television; other markets and production types may have different standards.
One operator's final successful negotiation may not represent typical outcomes.
The specific dollar amounts mentioned reflect 2010 television production economics and are not current.
Discussion involves anecdotal evidence from operators; no comprehensive market data provided.