When the only real thing in the shot is an actor and maybe the floor, is it really cinematography? I don't know.
By the way, no way you should be using your own gear if its a full time job, unless you're renting it to them every time you touch it. If they don't want to spend the money to buy the gear, they'll have to rent it one way or another. If they can't accept that, they don't get it or aren't committed....run=)
Any in-house production job will require being a jack of all trades. There is no room for being a specialist in most places, unless its a larger team. Everyone has their speciality of course, but you'll need to wear many hats, especially since you'll be solo. If your potential employer doesn't understand the production side of things, part of your job is/will be educating them through your expertise and experience. Managing expectations.
How long things take...a 5 min video doesn't take 5 minutes to edit;) You can't expect something that looks like it costs $100k to only cost $100. All these sorts of questions that are swirling around in their heads, have to be answered early on.
As a part of an in-house team for quite a while, the best you can do is present them with options. Give them a minimum and mid-range package and explain in detail the differences and what the extra money buys them. You have to be able to effectively communicate with them, without being confusing. You can't talk too much camera lingo and expect them to understand what you're talking about, unless you explain a few buzzwords as you're going. Its always a careful balance=) Have them show you the kind of video they want on Youtube and tell them what it took to make it, as best you can. Better yet, find content you think they want. Have all your ammo ready to go. Low end and mid-range/high end and ask them what they like about it and then explain what it took to do it. It proves you know what you're talking about, should build trust, and help you get a better feel for their needs. If all they want is the minimum, you know where you stand. Think of the home make-over shows on HGTV. Take Property Brothers. They show them what they're asking for but can't afford, then they show them what they actually CAN afford.
If they don't want to purchase their own gear, you obviously have to charge to rent yours and explain this is standard practice. Gear is always a part of the freelance fee and that varies according to the level of gear they require. You know this. But If they don't know what they require you have to explain what they need, according to what they want. Its all about managing expectations.
If they think $5k is a lot of money for gear, you have to give them a dose of reality and educate them. If they refuse to take your advice or don't believe you, RUN. They don't know what they want yet. Have them call you when they have a better idea.
The studios know exactly whats wrong with the bad Superhero movies and know exactly what's right about the good ones. Often its too late to fix it once the train can't be stopped with massive studiohead egos bumping heads. The only surprise is when one gets universally panned, yet still does extremely well like Batman vs Superman. To apply "art" film sensibilities to a superhero movie gets you Hulk by an over-rated director who has no right making superhero movies and we know how well THAT turned out. !!ack!!
Simple. Get the right property plus a good script plus the right actors that can pull it off and it works. Shove a crappy script down our throats and try to cover it up with FX and you get Fantastic Four or the last Spiderman with Electro. Not exactly simple to get that together but the formula is there and it literally applies to any movie.
Don't update immediately. I always wait a few weeks for the update "fix" to release.