RE: A&E Tesla coil, and Mind Freak. (fwd)

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Moderated and approved by: Gerry Reynolds <greynolds@xxxxxxxxxx>



---------- Forwarded message ----------
Date: Sun, 24 Dec 2006 06:40:26 -0800
From: Jim Lux <jimlux@xxxxxxxxxxxxx>
To: Tesla list <tesla@xxxxxxxxxx>
Subject: RE: A&E Tesla coil, and Mind Freak. (fwd)

At 10:15 AM 12/23/2006, you wrote:

>Date: Fri, 22 Dec 2006 22:46:05 -0800 (PST)
>From: Scott Kraus <plymouth_4406@xxxxxxxxx>
>To: tesla@xxxxxxxxxx
>Subject: RE: A&E Tesla coil, and Mind Freak. (fwd)
>
>Hi All,
>
>   I think we need to understsnd we don't have a mainstream hobby. I am not
>saying that we should not worry about RFI and other issues but the people
>that I have run across look at Tesla coils as either you are crazy or they
>think it is as the most impressive electrical project they have ever seen.
>I do not think you can convert very many of the undecided by good press.
>
>    Most of us do not build or display coils on a global scale and I think
>if asked to have one of their coils used in a t.v. program or commercial
>most of us wouldn't think twice.
>
>   Scott Kraus



And, believe me, the folks in the TV and film industry, who are 
remarkable for their degree of "moral elasticity", would have no 
hesitation in *hiring* an ambitious amateur to use their coil in 
exchange for the proverbial "case of beer".  And then, when something 
went wrong, they'd have even less hesitation in suing the poor schmoe.

There are a lot of enthusiastic assistant producers who would do 
almost anything to try and get ahead, and if you and your coil happen 
to be a handy stepping stone, they'll use it, and never look 
back.  They'll talk a good line before.

IF you are ever approached by someone for this sort of thing, a few 
words of advice from someone who spent half a dozen years in the 
physical special effects industry (fire, rain, smoke, etc.):

1) If it's not written down, it does not exist. (Really.. ignore 
everything they say, look at what's written in the contract).

2) Very, very carefully consider the potential downside if something 
goes wrong, and make sure that those written things spell out in 
excruciating detail what happens.  Check your insurance and theirs 
(ask them if they'll make you a named insured).  Your homeowner's 
liability insurance may not cover you for "professional activities".

3) Use the traditional special effects bidding method to negotiate 
the price.  Figure out how much it's going to cost you to do the 
work.  Double that, stay firm on the price. Get a deposit for half up 
front and CASH THE CHECK.  Then, when inevitably, the assistant 
producer comes to you at the end of the job and says "Gosh, we ran a 
bit short, can you help us out here by discounting.  If you can't, we 
won't be able to pay you at all, and you can just sue us for it, 
because after all, that 5 minutes when your coil didn't work cost us 
thousands of dollars in crew time standing around." you'll still have 
covered your costs with the up-front payment.

Do NOT take "just cut us a deal this time, and we promise to hire you 
next time" as an excuse.  With rare exceptions, each production is 
essentialy a separate company, formed for that production, and which 
will go out of existence at the end of it (with zero or negative assets).


I don't want to discourage anyone from working with entertainment 
types.  It's a heck of a lot of fun in a glamorous industry.  Just go 
in with your eyes WIDE open and be a bit cynical for your own protection.