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|| SportsShooter.com: Member Message Board
Pricing out a commercial MULTIMEDIA project?
Zach Ornitz, Photographer
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Syracuse | Ny | USA | Posted: 11:34 AM on 12.28.10 |
->> Hello All,
I've scoured the internets for instructions on how to go about pricing out a multimedia production for a commercial client. I'm in graduate school and although I've been taught how to create said project, we've not been shown how to bill it out. Theory into practice and such...
I've done plenty of commercial still shoots, but I have no idea how to breakdown and charge for a multimedia project. I've got a client on the hook that wants a proposal for two projects. I need to submit my estimates early in the new year. What is the industry standard for planning a project, shooting interviews & b-roll, editing in a FCP timeline, making revisions to drafts, etc.
To date, this is not something PhotoQoute will compute for me, nor does ASPM offer any advice. So I am turning to you, the learned and practicing professionals of this community for any insight you'd be willing to share. Any advice would be greatly appreciated.
Cheers,
-Z |
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N. Scott Trimble, Photographer
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Lake Oswego | OR | USA | Posted: 12:13 PM on 12.28.10 |
->> Bill for your still shoot as you normally would, THEN look up day rates for DP, Post production services, preproduction scouting (usually half the charge of camera operator/DP, whichever you prefer or feel represents you.)
If you consider yourself a production company, then there are licensing considerations to charge, otherwise, video typically is owned by the client, while the still photos you still negotiate the licensing. I
PDN has some resources on their site, as they have been heavy this year discussing combining still and video both.
It really is two shoots, therefore discounting yourself as a 2-4-1 is a bad idea and will set you up for major headaches. You are essentially wearing multiple hats and should be paid accordingly. I worked on a shoot recently combining both still and video and each was treated separately and the client was happy with the product, and appreciated the value of the work that went in to it. |
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Chris Hunt, Photographer
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Seattle | WA | USA | Posted: 12:20 PM on 12.28.10 |
->> Zach: A new (free) resource that may be helpful to you is Shakodo.com. The entire purpose of the website is photography pricing education. Users can ask specific assignment and licensing questions and usually receive very helpful answers.
http://www.shakodo.com/ |
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Zach Ornitz, Photographer
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Syracuse | Ny | USA | Posted: 6:56 PM on 12.28.10 |
| ->> *BUMP* Please help, more input desired... |
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Andrew Malana, Photographer
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San Diego/Tokyo | CA | USA | Posted: 8:51 PM on 12.28.10 |
->> Zach...
I do it this way:
Pre-Production. What needs to be done BEFORE the project. You must list as line-items for every step of the way. It wont be fair to list prices in public but you already know from what you wrote above?
Production: List as line-items for what you are using, gear, props, additional staff, location fees, your daily rate etc.
Again pricing is done according to your specifics.
Post-Production: What needs to be done AFTER the whole shoot is done. Editing, encoding, your deliverables to your client.
Again all line-items listing the specific work done.
After the three 'P's' you must add your administrative costs, taxes, etc. This is inline with your cost of doing business. Insurance, office, etc...
One must list all work done, pre to post at a rate agreeable between you and client. If they balk, then if you structured your estimate, you still have wiggle room to make your margin by adjusting, to a degree, any line-item the client has concerns with. Also, it is never a 'quote'...it is an estimate. You may incur additional costs you and your client may not forsee. THIS MUST be talked about from the beginning. You are working for them and tasked to produce a deliverable they need. Work with them and if you list all steps needed like gear usage, staff, props etc, they get an understanding of how YOU work and will feel involved in a way. Especially during the Production phase.
Lastly, once the project is finished, make sure your client is happy and PAY your staff and any gear rentals in a timely matter! You dont want gear houses/freelance staff talking about you...You want them to speak highly of you.
Once all this is done, invoice the client and hopefully they will PAY you in a timely matter.
If you have done commercial shoots, then technically you already know what needs to be done. Just think through the 'timeline' and list them as line items.
Hopefully this will give you a start. I cant give nor will give pricing as a guide. It wont be fair to you or your client. This is something that will come from you.
Good Luck! |
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Stanley Leary, Photographer
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Roswell | GA | USA | Posted: 9:12 PM on 12.28.10 |
->> As a general rule your shooting rate will be close to your post production if you average out as a day-rate. However, I wouldn't quote this way, just use this to help you figure out what you need to clear.
The above comments are all great. Be sure you do figure in the usage. I consider the usage fees to be the negotiating figures. I don't see the production costs dropping and negotiable. But how they use the project can be negotiable. |
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Zach Ornitz, Photographer
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Syracuse | Ny | USA | Posted: 11:28 PM on 12.28.10 |
->> Thanks to all for you input. Greatly appreciated. Happy New Year to the Sports Shooter community.
Cheers,
-Z |
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