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Add Social unrest to social distancing… WFH is here to stay
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[Mark Raudonis] “In this conversation of WFH, people seem to focus ONLY on their own situation. The one thing I’ve learned in the past few months is that EVERYONE has a different idea of what WFH means. Therefore, the solutions, costs and technology deployed to make it work is going to be different for everyone.
“This is HUGELY important.
For example, I mentioned skinny terminals, which works for VFX folks, but may not be even remotely possible for editors. (Pun not necessarily intended, but seemed on topic. LOL)
I’m aware of some editors who are at home with gazilliondy terabytes of footage, doing all their work on local devices at full res, to be sneakernetted to its final destination. I don’t even know how much review an approval they’re doing online. Maybe no cloud nuthin’.
But this is where my idea of rental comes in again. Doesn’t need to be Hollywood. Could be Key West or Kankakee or Kailua, but the call comes in for a series, and NOW I rent the system I need to do the work. Using Professor Zelin’s example again, I get my Creative Cloud and Media Composer system with 40TB of storage, delivered. I pay for it for the three or six months that I’m on the clock, then I have the rental house come pick it up when I’m done. For the rest of the year that I’m not actually using that much iron, I’m not paying for it either…
…and best of all, my rental expense is a straight deduction, this year, instead of spreading it over five with the IRS’s depreciation table. And rather than having had to save the price of a Tesla to pay for all that in cash, I’ve paid a much smaller amount that’s tied directly to revenue.
Seriously, it’s not just Hollywood that’s renting gear. It’s indie creators all over the world. I can absolutely see this as becoming an increasing characteristic of WFH scenarios, which becomes freelancing on a 3D chessboard. Companies and employees/contractors have a new relationship that may become negotiated anew with every project or season, and evvvvvverybody’s relationship with gear changes.
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I guess it comes down to rentals. If I have to WFH and they are using my gear, wear and tear on equipment and drives, if something fails or breaks, I don’t want to be on the hook, that’s why I charge a rental fee to cover these things. An employer can’t expect to profit and get free gear that we have to purchase and maintain on top and only pay a salary that they are already paying.
Warren Eig
O (424) 293-1164email: info@babyboompictures.com
website: https://www.BabyBoomPictures.com
Vimeo: https://vimeo.com/babyboompicturesFor Camera Accessories – Monitors and Batteries
website: https://www.EigRig.com -
[Tim Wilson] ” it’s not just Hollywood that’s renting gear. It’s indie creators all over the world. I can absolutely see this as becoming an increasing characteristic of WFH scenarios, which becomes freelancing on a 3D chessboard. “
The Yin and Yang of rental versus ownership has been going on since I first got in the business 45 years ago.
On the post end, where long term (6 month+) projects can pay off your gear for the equivalent of 3 months of rental, most experienced editors already own their own gear, although storage could still be a rental.
Production is different than post, the pressures to own the latest and greatest are much higher when the object of your interest is placed on a pedestal in the midst of all the action.
When is the last time a producer hired an editor based on what computer (as opposed to what software) he/she was editing on. Which is why renting camera gear has always been a big option.
For editing the pressure comes with scaling up quickly for a new project, and this is where the idea of scaling up with a network of WFH editors can be a new force in the industry if you can come up with the proper workflow.
Herb Sevush
Zebra Productions
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nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf -
[Warren Eig] “An employer can’t expect to profit and get free gear that we have to purchase and maintain on top and only pay a salary that they are already paying.”
Warren,
You’re missing the point. You seem to have an “us vs them” POV. (Typical of a union relationship).
I’m talking about a win-win situation, where convenience and lifestyle come into play. Nobody is trying to take advantage of you. I’m suggesting that in a situation where it’s YOUR CHOICE as to wether to come in or not, does the employer really have to supply you with another system?
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[Mark Raudonis] “I’m suggesting that in a situation where it’s YOUR CHOICE as to wether to come in or not, does the employer really have to supply you with another system?”
It sounds like you are setting up a scenario where a person who’s “choice” it would be to give their gear away and not charge for it would be in a position to undercut Warren, who does want to charge.
That’s the upside of the “union relationship” it seeks to try to prevent the undercutting or “race to the bottom” if you will.
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[Tony West] “That’s the upside of the “union relationship” it seeks to try to prevent the undercutting or “race to the bottom” if you will.
“I don’t think that properly explains the WFH partnership between freelancer and a hiring company. In my market, there was a period of time a number of years ago where an added system rental charge was considered an acceptable added charge on top of an editors day rate. However, as remote work has become the norm this added charge was eliminated.
I agree with Mark that the WFH agreement is a classic win-win for both an editor and a facility. The facility wins because it frees up space to have another editor work on a project or it might reduce the overall office space and computer equipment needed by the company.
The editor also wins because he or she has much greater flexibility in their work day. No wasted time commuting and a flexible work schedule which allows for work/life balance – like taking care of children, doing laundry, grocery shopping, etc., etc. And as long as the pay rate is competitive with the market norms, there shouldn’t be a concern of being taken advantage of by the hiring company.
https://www.linkedin.com/in/tmprods
https://tallmanproductions.net -
[greg janza] “the WFH agreement is a classic win-win for both an editor and a facility. “
It could be if the editor is happy with it. If they are not it isn’t.
[greg janza] “The editor also wins because he or she has much greater flexibility in their work day. No wasted time commuting and a flexible work schedule which allows for work/life balance – like taking care of children, doing laundry, grocery shopping, etc.”
Some people would rather decide for themselves what’s a benefit to THEM.
I remember a case where a worker was told that they weren’t going to be working there as much but that they would have more time to spend with their kid. Their “kid” was in college out of state. Not a benefit at all.
Yes, for the people who are good with it no problem. Some people are trying to maximize their money to pay for their kids college, or whatever. Just tossing it out there.
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Completely agree.
Anyone here tried editing with a 3 year old and a 1 year old in the same house?
Co-owner at Pollen Studio
http://www.pollenstudio.co.uk -
There is a subtle issue of having strangers in your house.
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[Misha Aranyshev] “There is a subtle issue of having strangers in your house.”
WFH doesn’t lead to strangers in your house, it means developing a workflow that incorporates cloud based review procedures.
Herb Sevush
Zebra Productions
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nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf
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