P l e a s e   r e a d   e n t i r e l y.    Y o u   w i l l   b e   q u i z z e d.

Many of these terms address conditions prevalent in the AV quadrant of the industry because it constitutes a considerable volume of production in this community.  If you are inquiring about a production which may not be subject to these contingencies, then just enjoy the reading!











Wintertime shows and inclement weather

I may need a room in the venue during wintertime shows.  

Why?

Because, otherwise, as a local, attendance cannot be guaranteed once roadway conditions become hazardous.The dilemma local hires are repeatedly faced with:  an ice storm descends, sometimes during the final day. 

Or in the final hour. 

Leaving locals stranded at the venue (as attendees depart in taxicabs). Or risk roadway conditions outside. 

I've actually heard locals having to ask: "If yet an ice storm descends during     
•    awards banquet,     
•    closing general session or    
•    loadout,
how will you deal with a crew's need for shelter once the fleeting need to finish the production has been met?"

Even during other, warmer, times of year, a room in the venue may still be needed on comparatively short notice.  

Why?

Because Dallas is also subject to some of America's severest inclement weather in terms of flooding.The historic trait of extraordinarily sudden, unpredictable, and dramatic shifting weather observed in Dallas creates hazardous conditions with extremely short notice. 

Or, literally, no notice at all.

Consequently, if a room is not available, a local’s attendance cannot be guaranteed once roadway conditions become hazardous.

Why devote so many "column inches" to this discussion?  It seems counter-intuitive.  After all, the common wisdom says these contingencies are exceptions rather than the rule.  "Winter storms? Why, Dallas has barely two months per year of winter weather"  In theory.  

Here's why I emphasize this issue.  While Dallas wintertime may be comparatively mild, it's frequently the busiest production period of the year for visiting AV.  Especially the month of January - the heart of winter. 

Therefore, the probability of visiting production companies being the victims of winter storms in January is a virtual certainty.  NOT some remote possibility.

I'm one of the most prolific local hires to the visiting production industry.  My testimony: I can't recall a January during which some visiting production company WASN'T the victim of a winter storm which threatened their client's production in some way.



SINGLE-CAMERA SHOWS

I made my reputation nationally as a definitive centerline camera operator for single-camera shows.

Cutting a multi-camera show down to a single camera may be the very margin needed to win a bid; I'm aware of this.

While I do not uniformly decline single-camera shows, I must now charge considerably more for them unless assured in advance that I will not be alone in carrying the near-totality of onscreen content for the show’s sessions.  

Why?

The practice of shifting a show's overwhelming burden of on-screen time to a single camera is a practice risky to the client’s production.

Why?

Because the AV world is already sleep-deprived by definition, the client's production is put at even greater risk of the image drifting off-screen when (by day three or four) yet another long session burdens the only camera.  

The camera’s tally light may be on for hours, uninterrupted.

Operated by a local whose commute insures he's had two or three hours' less sleep than other crew members…who have rooms in the venue.

I continue to welcome single-camera productions which can reasonably assure relief in the form of graphics, roll-ins, duration of general sessions, etc.  



TURNAROUND

I will not consider an engagement which has inadequate turnaround(s).  

Since there is spectrum of opinion regarding what is safe, proper, and in the interest of the client’s production, discussion in advance may be appropriate.



TRAVEL

I do not travel.  

But, then, elaboration is required in this instance: EVERYTHING in Texas involves travel.

Distances regarded by some as “local” in Texas would assuredly incur mileage charges anywhere else.

Dallas-Ft. Worth is one of the most expansive metropolitan areas in America.  I can and will work engagements in Ft. Worth, Denton, &/or Winstar casinos contingent upon the production’s run of consecutive days, turnarounds, etc.  Again, lodging may be necessary, depending upon anticipated call & release times.

Austin and San Antonio are not local to Dallas-Ft. Worth.



OUTDOOR ENGAGEMENTS

I am unavailable for productions staged outdoors.

EXPENSES

Generally, where local hires are concerned, parking is their only expense to speak of in event production; rarely more than $18 per day in North Texas. 

You may represent a company whose policy is not to reimburse expenses incurred by your client’s productions. 

The popular solution has proven to be: simply assign a higher day rate at time of booking.



PAPERWORK

Your company’s personnel / payroll system may involve periodic “flushing.”  If so, please take note:  I depend upon the individual booking me to know in advance whether his / her company’s system will be prepared to pay me in a timely manner.

Why?

Because I’m not a staff employee of your company, I don’t have the privilege of “back office” access.  I have no way of knowing if my status is current; the individual booking me DOES.  Egregious failure of this diligence once caused a six-month remittance turnaround from an intensely valued client.

I do not live from paycheck-to-paycheck, and in thirty years, never have.  Yet, the abuse of goodwill could cause ill feelings where none existed before.  

In expecting due diligence where my status is concerned, my goal is to prevent circumstances which could result in ill will.



NET TERMS

Remittances are payable upon receipt of invoice, though not regarded as delinquent until after thirty days.