-
Another One Bites The Dust
Howard Schwartz Recording has closed in NYC.
This was one of the largest and best known Audio
houses in the city, a feature of the landscape for the last 38 years.
The carnage is not over, If HSR can fail no one is safe in this biz. -
38 Replies
-
The big ones aren’t safe. They haven’t been for a long time. Small and nimble survives. New business models are needed for the new tighter economy.
Big expensive rooms.
https://www.hsrny.com/hsrny/thestudios/studioa -
I will just add that the last time I needed studio time for a voiceover with NY talent I called around and Howard Schwartz wanted something like $400/hr.
“Umm… maybe you don’t understand what I’m asking for,” I said. “I need single channel VO recording that I can pick up from an FTP.”
“Yes. That’s $400 an hour,” they said.
Needless to say I went elsewhere.
-
As long as small and nimble is smart, I tend to agree.
A side note: a whole lot of microstudios haven’t spent time figuring out a fee structure that will allow them to be in business for more than a couple of years. It seems like an ongoing problem for businesses in our industry.
—————————-
PatrickOrtman, Inc.
Los Angeles Digital Agency and Video Production Company -
[Patrick Ortman] “A side note: a whole lot of microstudios haven’t spent time figuring out a fee structure that will allow them to be in business for more than a couple of years. It seems like an ongoing problem for businesses in our industry.”
Absolutely. It has to do with your comment about “smart” as well. A lot of price crashing is due to a plethora of microstudios who have no clue about a business model. The result is that price shoppers simply jump from studio to studio as each fold. I guess clients who are happy with “one offs” rather than the advantage that long term relationships give them are part of the picture. It’s the pervasive short term thinking (or lack of thinking) that’s at root.
While the ROI on gear can be short given the low equipment prices, the profitable lifespan of equipment is much shorter as well. While we may gawk in wonder and how great the gear is today at such low prices, compared to what some of us old-timers used to use, the cost over time may not be that much less.
Consider the ability to keep a BetaSP camera going for the better part of a decade to the typical good camera than may be need to be replaced within 2-3 years to remain feature competitive. Basically most microstudios don’t take into account that their price has to include enough money to purchase replacement gear in a couple of years.
-
That’s absolutely true, I agree. It’s maddening, as clients begin to think we’re all commodities. And the smarter of us realize that by presenting ourselves or allowing ourselves to be seen as commodities is foolish. You need more than equipment and a great room. You need value-added, or you’re gonna be next on the chopping block. What is it Ron says? Nobody wins in a race to the bottom?
—————————-
PatrickOrtman, Inc.
Los Angeles Digital Agency and Video Production Company -
Often the bigger and older the company, the harder it becomes for them to evolve with the times. They use to provide something that could not easily be had elsewhere. Now, digital recording is in the hands of literal babes and VOs don’t have to cost any of us more than 250 bucks with often less than a one hour turn around. They simply got blinded by the 80s. Those times were very good to them… hence the inability to let go of that habitual behavior.
I liked the 80s too. Parachute pants went out of style and I’m too bald for a sweet mullet today. I can’t bill 400 an hour anymore either but all the above are common sense if you allow them to be.
-
I missed the 80s, I was just a kid. Sad.
Voiceover for $250 works once in a while- if I know who I want to use, if they’re non-union, and if the client isn’t too picky. Otherwise, if you need to do casting, union, tests for the client, etc., it’ll be more. Sometimes a lot more.
I know I’m like a broken record today (see, 80s reference), but the trick really seems to be to stop being a commodity. You’ll have to compete with the “kid with a camera” crowd if you don’t explore exactly why the client should pay you more.
Then again, I’m still learning 🙂
—————————-
PatrickOrtman, Inc.
Los Angeles Digital Agency and Video Production Company -
[Craig Seeman] “Consider the ability to keep a BetaSP camera going for the better part of a decade to the typical good camera than may be need to be replaced within 2-3 years to remain feature competitive. Basically most microstudios don’t take into account that their price has to include enough money to purchase replacement gear in a couple of years.”
The Sony UVW-1800 is the one piece of equipment we still have running today. It’s the only thing left from our original opening of our first location in 2001.
I’ll add that there are a lot of people who don’t believe in buying new year, maybe losing a little money on a few jobs to pay for it, and then having that gear for at least two years to make money with it. that’s pretty much how I built my place so in general, we carry little to no debt load for our equipment.
That has allowed us to keep our production prices almost the same for the past 10 years while expanding the company twice. It’s not easy, you have to work like you’ve never worked before and have an incredible partner to help you along the way. In my case, my wife has been an incredible part of this ride.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media -
[Patrick Ortman] “Voiceover for $250 works once in a while- if I know who I want to use, if they’re non-union, and if the client isn’t too picky.”
Patrick-
I believe what both Grinner and I were talking about was just the rate for the studio time, NOT the talent fee also. Well at least that’s what the $400/hr at HSA was. IMHO people who go for $250 or even $100 voice-overs get exactly what they pay for.Who’s to say whether we should hope for or dread the day when Apple Garage Band technology comes with a selection of voices and intonations which can be easily edited. Pick Don LaFontaine and add “warm” markers around the client’s name, and while you’re at it dial up the “growl” 10% on the tagline. The day is coming. Let’s just hope that Don’s estate benefits mightily from it.
-
Unions. If a voice talent wishes to mimit himself by restricting himself, there are penty others that are willing to do work. Today spoils me. If I can’t have a 250 vo by noon by someone, I just call the second guy on my list and call it done.
Reply to this Discussion! Login or Sign Up