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  1. #1

    Pricing filming jobs

    Hey there,

    I am usually found filming wildlife both underwater and topside and then sell the footage on as and when, and occasionally film small projects such as product launches and corporate seminars and training days, these I find quite easy to bill up.
    However the latest job I have landed is to film, edit and produce a full blown 2 hour tutorial/instructional DVD for a pole dancer trainer!
    Now although I am very confident in having all the necessary skills to do this job and know I can do it, I have never taken on such a big project and the problem I am facing is estimating the client for the whole project. Now forgetting the cost of the DVD production (this will be handled by someone else as she wants 100+ copies), what is the best way I can go about billing this up. It would include; Traveling to the location, the shoot(which has many other elements ie, DOP, DIR etc), set prep, green screen for stills, all post, DVD building and masterdvd production. Not to mention the designs and graphics for the inlays etc.

    Any advice would be greatly appreciated

    Tom

  2. #2
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    Are you going to film and then convert to video (telecine)?

  3. #3
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    Quote: MetaBol
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    Are you going to film and then convert to video (telecine)?
    Sorry didn't make my self very clear, it will be in video (HDV) format.

  4. #4
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    How many cameras? Are they being rented? No. of Operators? Where is this to take place? What is the turn around time for the project?

    Will you need permits? Is the talent being paid?

    Are you planning the shoot? Paying a SME (Subject Matter Expert)? Someone else taking stills? Are you doing any interviews? Do you have a lavalier microphone?

    Do you need a boom, steadicam or other accessory?

    Are you planning on using prepared graphics I.E Digital Juice for lower thirds, wipes, etc.?

    Will you be doing post yourself? Are you renting a system?

    I may have a lot more questions. The better you plan this out, the greater chance you will not lose money on the job and the smoother it will go.

    You don't want to be three quarters into a project and come to the realization that you're now doing it for free.

  5. #5
    Quote
    Quote: MetaBol
    View Post
    How many cameras? Are they being rented? No. of Operators? Where is this to take place? What is the turn around time for the project?

    Will you need permits? Is the talent being paid?

    Are you planning the shoot? Paying a SME (Subject Matter Expert)? Someone else taking stills? Are you doing any interviews? Do you have a lavalier microphone?

    Do you need a boom, steadicam or other accessory?

    Are you planning on using prepared graphics I.E Digital Juice for lower thirds, wipes, etc.?

    Will you be doing post yourself? Are you renting a system?

    I may have a lot more questions. The better you plan this out, the greater chance you will not lose money on the job and the smoother it will go.

    You don't want to be three quarters into a project and come to the realization that you're now doing it for free.
    Thanks for all the points,

    I already own all the equipment necessary to do the job, cameras, lighting mics etc and yes I will be arranging the shoot. She is a self employed dance instructor and basically wants to make this DVD to get her tutorials out further. With all the different moves and dancer sequences she wants on it, it will amount to around 1 hour 45 minutes run time. So really there are only two people in the picture here, myself and her. She already has access to a studio which she uses to teach in and will be footing the bill for so thats not an issue for me. The stills are being done by a guy I often work alongside so he will need paying, other than that its as I said before. Just after a bit of info on coming up with a figure on a project this big

    Tom

  6. #6
    Visionary CLPTV's Avatar
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    Aug 2008
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    Grand Canyon, AZ
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    22

    Building the Bill

    Something to consider, as a producer, with in-house productioin, grafx and post, it is offten time to play auditors hats, I have found that straight up hous, per dollars approach has worked best, each camera has a replacement cost, each has an estimated run life, you need two cameras, in return for the utilization of one, every hour run has a cost, you need to make cost..plus..replacement, plus labor, tools, trades, and transport....

    If your still with me, this applies to every battery, cable, and slip-cover you use in the production ....... remember everything dies, lets hope it's not your bank account!

    Time, labor, and skills .. while doing this, you will likely not be doing much else... this equates to a loss of income ... go with me here ... how much might you make on any given day, if you were free to pursue opportunity?

    Hold on to this thought, your time .... all the time. Skill set from the spreadsheet equals, 30 thirty percent of your value, a staffer might do the work for 15 dollars and hour, simple directed manual labor ... your worth that much right..... ok, so add to that, the equiptment list, cost plus replacement, plus outsource labor, tools, trades, and transport.

    The sum total is equal to say 70 to 75 percent of the going per hour fee, and believe it or not, you'll be thrilled if you average 15 minute of B-roll from one days efforts!

    Last note, Actors are nuts, really..rattled, but Artist, well now they are so so much more.... I'd rather do another tour in Nam!

    Good luck, cameras rolling

    CLPTV

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