aside from hampering your other money-making opportunities... I'd write a scope of duties and times that you are on the clock. (I hate going out of town and clients thinking that I'm on duty 24/7).
1) outline what you will be doing and when. If you get there at noon to load in, shoot and edit, then strike at 1AM or later - that's 13 hrs. If you do $500 for 10 hrs, that's $50/hr. Time & 1/2 for the remaining 3. Is this the schedule EVERY night? What about days that don't include a gig? Plus you may lose work since you can't be in touch as if you were in the office - I'd add more in for that too.
2) I've got producers at $550/day, but they'll also do $1200/wk for longer gigs.
3) Is it your editing and camera gear? Don't forget rental charges. And what if you gear goes down? Know the tour route and coordinate the day before your next location to have local resources in hand for immediate rentals/repairs. Or bill them and take backup for your backup.
4) I know shooters that bill a 4-day week if I book them for 7 consecutive days.
Just some ideas in manipulating your fee. I agree with Ron that you are a business, not a friend in this case. Make sure you have clear payment arrangements before you get on the bus - in writing.
Sounds like it could be a very cool gig!
Steve
