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Business School

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A place to discuss the business and legal aspects of filmmaking.

How do you determine your rates? (5 posts)

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  • Avatar Image John P. Hess said 5 months, 2 weeks ago:

    The Podcast this week is diving into how we determine a rate for projects. This is open to all independent contractor positions be it as a producer or as a specific film job.

    So how do you go about determining your rate? Do you just have a “going rate” that you use? What other factors go into the decision besides money?

    You don’t have to share actual numbers, but sometimes it helps… we won’t hold you to any number you mention… :)

  • Avatar Image Scott Jarvie said 5 months, 2 weeks ago:

    I wouldn’t say that I have a “going rate” but I do have a base line determined by average rates of competition in the surrounding area.

    This is actually something I’ve talked about with a few of my producers, things that used to be done for 15,000-25,000 10 years ago, must now be done for 1,000-3,000, and it is up to the filmmakers to find the profit in those rates.

    The biggest problem is the huge influx of people who will do it for free, and the number of companies making their first videos. A company that has never created a video before will be most tempted to do it for free. They have no idea how expensive things were, and have no expectations of skill level. When the project is done, they either enjoy the product they have and continue to look for people who will do it for free (won’t be the same people), will hate the process/not see the expected results, and never do it again, or learn that spending money is required to achieve the results they are looking for.

    Now, that’s not to say there is no situation when working for free is a good idea, in fact there are several situations where it is the best idea. The saying is ‘Time is money.’ so treat it like money, invest it wisely. It’s about determining which projects have a higher chance of generating return on investment, and those that have a near zero ROI.

    Dudley Do-Right says:
    “If it’s worth doing, it’s worth doing right!”
    “Remember to always look before crossing the road.”
  • Avatar Image Eric said 5 months, 2 weeks ago:

    My situation is rather unique as I do not go out on shows to pay the mortgage. I go out because I enjoy the work and can bring experience and equipment to the game.
    Having said that I do not compete with those trying to make a living and when asked rates for overtly commercial projects I give a quote of 1500/day including Gaffer and Best Boy. Additional G&E swing added at around 150-175 depending on skill level. And this is for the first 10 hours. Rates are then prorated and increased in a pretty standard manner. 1.5 X 10-14 hours, 2 X 14-18 hrs and you better have a big ass bonus over 18 hours.
    I set the gear rates to match the local rental houses and that is on a 3 day week so work us for 5 days pay 3 days rental.
    No one has ever taken me up on it for commercial work as it is not designed to be competitive and I am fine with that.
    Starving artist rate when I know the producers and the story is good and it is a short shot in 2-4 days I will go out for meals, mileage and a small bulb fee if the HMI plays.
    If they have a budget for the same type of show I will take what they can throw at me and share it with the crew, usually on an even split.

    “Just put double in it. Let’s shoot this f***** and go home”
  • Avatar Image John P. Hess said 5 months, 2 weeks ago:

    @Eric said:
    I set the gear rates to match the local rental houses.

    I think this is a rather important point.

    As a producer that owns equipment that I use, I can often undervalue the equipment I bring to the game. Then there’s that joke that you can often hire a DP with a RED-ONE cheaper than you can rent the camera itself.

    All other factors being even, you should charge an amount that allows you to rent the equipment you bring AND make a profit.

  • Avatar Image 8thSamurai said 5 months, 2 weeks ago:

    That’s so true. I’ve been lecturing an extremely talented Red owner operator on this very thing. He’s too old, too experienced, and frankly, too good to keep going out on these crap features that pay (yes) a hundred bucks a day for himself and a full Red package. But he’s desperate, because the trust fund kiddie next door will do it for nothing with the same gear.

    You HAVE to build value and respect for your position. That said, I charge out the nose for established commercial properties. I’ve done reality tv.

    I’m a lot more flexible when it comes to creative and short projects, especially for friends. So it can vary from 1200/day for me, to nothing and I bring gear. Most of what I do is somewhere in the middle.