Book a crew without the twelve phone calls.
Miami production crew rates, published by the people who charge them. Free to read, free for crew, forever.
About a minute. Your range can stay private and still count — most people start that way.
Nothing publishes until a position has at least fifteen ranges.
Every number on the rate book comes from a verified crew member, folded into a median with everyone else's. Nobody's individual rate is ever shown — not to a producer, not on their own profile unless they choose to opt in.
See the full rate bookA directory without prices is still a phone call.
You look someone up, you like the reel, you email. Two days later you find out they're four hundred over. So you call the next one. Then someone who knows someone. Then the rental house, because they know everybody.
That's how a Miami crew gets built right now, and none of the existing directories change it — they list people without listing what people cost, so the work just moves to your inbox.
And if you're the one being booked
The same visibility works in your favor. You go first with one number and get everyone else's back.
You give one rate. You get the market.
Right now you find out you were two hundred under after the job's gone. Publish a range and you'll know whether $650 is low, normal or ambitious for your position before you're on the phone.
Private still counts
Your number can stay off your profile entirely and still go into the median. Nothing publishes until a position has fifteen ranges, so nobody can work backwards to you. Most people start here.
You will never pay for this
Not now, not later, not a trial. Producers pay per project when they want to contact someone. Charging crew to be found would make us profit from people who don't get hired.
A range, not a number.
One rate is a trap. Post $1,100 and you price out the music videos. Post $500 and you anchor the national spots down. A range says what you charge without deciding the negotiation in advance.
Drag the handles and see how you'd read to a producer.
Inside the Miami band — a producer reading this knows roughly what to expect and won't assume you're negotiable to nothing.
How it works
Publish a range
Public or private, either way it counts toward your market's median.
Get found by budget
Producers search by what they can pay — you show up when you fit.
Say yes or no with a number attached
Every request carries a real project, real dates, and a budget.
Get paid, on the record
Invoices draft themselves from the booking. Payment gets tracked against the company.
And who actually pays.
Late payment is the most common complaint in freelance work and the least documented anywhere. Every production company here carries a record — median days to pay, how often they hit their own terms, drawn from real bookings rather than opinions.
It's free to read, like everything else in the book. You find out before you take the job, not sixty days after you invoiced.
See a company recordPayment records build up as real bookings close. Nothing publishes until at least one company has enough of a track record to mean something.
Miami first, and slowly.
We're opening one market at a time so the numbers stay real. Tell us where you work and we'll let you know.