Re: Owner Operator rental rates




"Marty" <Marty@xxxxxxxxxxxx> wrote in message
news:z23Rj.4449$E77.3200@xxxxxxxxxxx
Pascal Van Strydonck wrote:
Just got the Lectros SR and they are fantastic. I run a SD744T for
back-up. Jam sync TC everytime the camera op is changing tape or
battery. I charge the equivalent of two additional RF ( 50$ a piece )
since they are two RF after all. I don't charge for BUP recording
until it is needed then i charge an hourly rate to recover the file.
In my book, i don't charge for the BUP because in my market it is
already pretty hard to convince them to use RF hop and when there is a
failure, i don't want them to change there mind about the RF hop.
People have different ways of thinking i am sure and different clients
and market.

Pascal

Pascal Van Strydonck
Concepteur et consultant
Audio
Designer and Consultant
514.755.1900
Email: pascal.vs@xxxxxxx
Website: www.pascalvs.com


I've been talking about the subject of rate structures with a variety of
folks in the DC market from small post houses to production co's, to
freelancers. It seems that in our industry, clients expect the world and
all it's services for nothing (surprised?), while some service providers
feel somehow compelled to cave for fear of losing work. I put it this way
because everyone complains about it. Clients want all kinds of extras from
post from animations to graphics to additional edits for no additional
cost, and from sound production they want backups when the camera fails
but don't want to pay up front. They want the convenience of wireless
camera hops, wireless mics and other extras for the price of a basic ENG
kit. Well sure, if they can pressure you in to it, why not?

Those that have been in it for a time have come to the realization that
they really need to start practicing as a business rather than just
groveling for work at the mercy of the client.

That being said, when a customer comes to me considering the purchase of a
complete wireless camera hop which includes 2 audio send channels, 2 audio
return channels, and time code recording, they are looking at a
considerable investment (the equivalent of 9 pieces of hardware) and
wondering if their clients will agree to pay extra for it. In business
terms they are considering the Return on Investment (ROI), or how long
will it take for the equipment to pay for itself? My suggestion to them is
that wireless is a costly set of gear, just like a wide angle lens or an
HMI light. It is a benefit and convenience for THE CLIENT, not the crew,
and if the budget isn't allocated for it, the crew (client and shoot) will
be subject to the limitations of the umbilical cable or wired mics.

Backup recording must be considered insurance for the client, which is
paid for whether or not a loss occurs. No policy, no insurance. OTOH, if
you run a recording anyway after the client declines the initial offer and
something happens that requires the use of that backup, then the
retroactive rate to recover the recording will be considerably higher
(which should be part of the initial selling pitch).

So there's my take.

Uh oh, I feel a few dissenting opines in the mist......

Marty Atias
ATS Communications

Certainly good points of view. The problem is that for most of us a strict
"line item" mentality doesn't always work. I do charge more per day for
labor and equipment than the majority of mixers in my region and I feel the
clients get what they pay for in terms of quality of work, quality of
equipment and redundancy of equipment. While I try to charge for obvious
extras that are not part of my standard operating procedures, my ROI for
backup recordings and other redundancy is measured in the consistency of my
work days over the years, the repeat business of my regular clients and my
somewhat higher than regional average rate. I think it's far easier to
provide the most at higher rates than the least with lower rates while
trying to add on inventory items that I'm paying for anyway.


.



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