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GH2 Accessories – Cage, Matte Box, Rails, Monitor
  • Well, I've held off on this as long as I can. Non-paying clients have forced my hand – so I have to part with some beloved gear that I put a lot of time, research and money into acquiring together. This is a nice "full package" of GH2 shooting accessories. It includes:

    • Anodized Cage with handles, rails, allen wrenches, and threaded holes, even has lips to secure camera and allows battery change without removing camera.

    • Matte Box (vertically adjustable) with flags and different sized rings,

    • Rails (vertically adjustable on tripod mount), both top and bottom rails

    • Monitor with three batteries, hood, charger, short HDMI cable, and AC plug. Not a high-end monitor, but works well, reliable, and is great for focusing.

    • Follow-focus, including two different mount heights, I can forewarn that this does have some play, but I wouldn't be surprised if it's an easy fix.

    • Threaded arms and shoes mounts – work for mounting any items on cage or camera.

    All is in good cosmetic and working condition (and in a nice Pelican Case), except the minor play on the follow focus which was mentioned. If possible, I'd like to sell the kit or as much together as I can. Check out pictures and make me reasonable offer if interested please.

    *note this does not include the camera bodies themselves.

    863 x 664 - 422K
    922 x 692 - 449K
    922 x 692 - 440K
    691 x 518 - 263K
  • 11 Replies sorted by
  • Where are you located?

  • Dallas, TX USA

  • So, I guess I will try Ebay route then... last call.

  • Well, PV isn't a bidding site. The rules state you need to offer a price so maybe that's why no one has chimed in. Just my 2 cents

  • whats your price? is this still available?

  • With case and everything, how about 500 USD?

  • Clients that don't pay or are slow to pay, suck balls. Always put payment terms in estimates/bids. Always ask for at least 1/3 up front.

  • Sorry to hear about your financial woes, fellow film maker. It's not easy work (contrary to what a lot of people outside the industry think). I've been burned before, so I second the suggestion of upfront payment in the future. On smaller projects under $5000 I ask for 1/2 or 1/3 before going to camera (depending on the type of client). For bigger projects I ask for less of a % upfront (varies depending on budget/timeline), but ALWAYS get some money in hand before the first shoot. On a couple of occasions I've had potential clients bawk at what I refer to as the 'deposit', so I just said good-bye and good-luck to them! In my experience, if they aren't ready to pay something upfront, they aren't really ready for a project and you could find yourself in a pinch when they finally realize it. I'll sheepishly admit that I've occasionally broken this rule when working on a project for someone I know personally, but even that is a bad habit that can bite you in the ass eventually. Earlier this year I had an 10 years+ established TV production company take MANY months to pay me for quite a large amount of work, so you can only do what you can do, sometimes shit just happens. Hopefully you are able to get it all sorted and get back to work.

  • Always protect yourself. In Singapore, where there is no union to guard the film and video industry, we set our own rules, as a collective. When enough pp start asking for similar terms, the clients will get the point. Typically, we ask for at least 1/2 of overall price if client is new. For recurring clientele, we could discuss terms. Money must be in my account first, then I turn up for work, otherwise, like someone here said, the client can go suck balls, we don't care for reputation or influence. Like so many here, we have our own horror stories to tell.

    Having said that, Singapore is a small place. The market is very small, so sometimes collective efforts are easier to coordinate. Bigger countries like the US, well every state has its own rules.

  • I'll just chime in and say even with 50% upfront as everyone suggests, things can be tough, sometimes. In a market like Panama one often is at the mercy of bizarre scheduling changes, where a client may not have the location or model or whatever elements together as quickly as they thought, and since it's Panama, you don't really charge them for changed dates, especially if you know about them in advance and you've been paid 50$ upfront. Things progress, however, and suddenly it's been a couple of months for a job you thought was going to take a month tops, and everyone is happy, but you are a ways from getting the other half of your money.

    Also, once the job is finished, depending on the industry one is working with, it can take time to get paid. The bigger the company or the more advertising oriented the job, the longer it takes, seemingly. I've been waiting for two checks for 17 days as we speak, from good, repeat clients that just haven't gotten their shit together one way or another, it's just the breaks of the game.

    I thought Panama was bad until I started dealing with major U.S. far as I can tell it's a mess the world over except at the very highest end.

    I try and combat these things by charging more, and overlapping gigs so there is always an upfront or a finished payment coming in by the time the rent is due. Of course not funnelling all my reserves into making an indie feature in my 'spare' time would probably make the 'day-job' part of the business a little less...exciting.

    These responses might make a good thread, if split off...

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