Freelance Subcontract Protocol

[Aharon Rabinowitz]

you got it man. Without a contract you have as little or as much ground to stand on as they do. The question is who growls louder at that point – and who has more to lose.

So as long as you haven’t agreed to give them the AE projects (And be sure you haven’t as in that last example – it isn’t clear) then do what you have to. But be prepaired to lose a client.

—————————————-
Aharon Rabinowitz
aharon(AT)yahoo(DOT)com
http://www.allbetsareoff.com
—————————————-
Creative Cow Master Series DVD
particleIllusion Fusion Volume 1
available @ http://www.pIllusionFusion.com

[Troy Anderson]

Thanks everyone, for good, late-night reading. My quick take on this after reading this discussion is that like everything else, it just takes clear and frank communication by all parties. I’ve been at this a long time and one thing I’ve learned is that if I bring up a contract or the final disposition of the project to my clients and I’m met with blank stares or worse, an adversarial stance then I can assume one of two things: This client is either not as professional is I’d like, or they’re trying to pull one over on me. Either way my exit strategy kicks in. I’ve worked on my share of projects without a contract, but in every case I’ve known the client personally or have done exhaustive research on them. And in the case of the latter, I still go in assuming I’m putting my paycheck at risk.

Be smart, it’s “Their” job to get us as cheaply and conveniently as possible. It’s our job to put food on the table. I figure we can all still be friends and have a beer when the final AEP’s are delivered.

Thanks,
Troy.

[Simon Roughan]

After reading through this interesting list of posts, I feel I have to add a bit of international wisdom. Ive been editing and compositing all over the world, in Australia, Austria, Germany and Ireland.
My point is….

….Ive never seen a more impressive Mullet than Rolands.

[Rob Montague]

I’m coming late to the party and I don’t want to beat a dead horse, but with that said:
Read the Business forum here and on other related sites (including the archives) and learn from other people’s hard-won and sometimes painful experiences.

Two links,

Work for hire:
https://en.wikipedia.org/wiki/Work_for_hire

I’m an Artist, But Not the Starving Kind
https://www.msnbc.msn.com/id/9287027/site/newsweek/

[Bob Cole]

I work out of my own office, so this is purely conjectural on my part.

What’s to stop you from using one of your own plug-ins, then (quite properly) removing it from the client’s computer when your work is done?

[Aharon Rabinowitz]

Both excellent references. That artical about the $35 and a six pack is dead on. I talk to my students a lot about business because I know that they’re not prepaired.

I’ve considered teaching a 1 day course on subjects related to animation work, but not animation: Getting a clear idea of what your client wants, explain their responsibilities to you and yours to them, negotiating a rate, getting a contract, Communicating with your clients regularly, project organization, What to do when clients change their mind (i.e., negotiating for more money) and final delivery.

These are all things not covered in art schools that should be, and I wish I had the time to really get this together.

I really thought about this since it was first posted, and with all that’s been said, I don’t believe that giving away After Effects projects is the problem. At all. Even when you give them away, someone has to use them later – so even if you’re not getting the work, some other AE artist is. It’s the same thing aws music loops, Artbeats footage, and anything like that that is pre-made to make life easier for someone. Ultimately, someone who knows what they’re doing has to be using these things to do them well, so if it’s not you, it’s someone else. If a company is using pre-made stuff they really can’t afford your time anyway.

That person may not be skilled or experienced, meaning students right out of school, or people who aren’t all that talented and don’t get much work- both of whome are willing to accept lower fees to get some money and work under they’re belt. And i don’t even blame them – because everyone needs to work.

The problem is that many companies think that they can get the same quality work from an unseasoned artist – often they find out the hard way that there’s a lot more to it then just having art skills and knowledge of the program. Technical issues pop up that only an experienced animator understands how to deal with. Clients ask for things with vague descriptions, and an experienced artist with client experience understands how to interpret that. Time management when things are getting crazy is another skill that can only be learned on the job. Attention to detail is key – and something, in my experience, that many fresh animators don’t have. Working under pressure is a big one – Having a Homework deadline is not nearly the amount of pressure of knowing that if you don’t finish on time with everything as perfect as possible, you could get fired, make a lot of people look bad, and get a bad reputation. I can’t tell you how much Fix-up work I’ve gotten from companies that came to me first who balked at my very fair rate, went with a student at half the price, and a week later came crying. they end up spending twice the money that way (hiring me to do the whole thing over).

Again, it’s not the students’ fault – it’s companies thinking that they can go cheeper and get the same thing. Any of the good companies I’ve ever worked for (and who I;ve turned in my AE projects to) don’t bat an eyelash at the going rate, pay for overtime, and will fight the client if changes come in that cause you to work more.

So that said, if you feel like turning in the AE project means that you lose work (becasue it goes to someone less experienced) – charge them for the Full AE projects (as opposed to the final video) – even make it a monetary deal where you organize it so any idiot can pick it up. Maybe negotate a better salary as a lead animator/designer so that you get both more money and a title with some responsibility that will help put you in higher demand elsewhere (and in a class higher then just “animator”). If you think you have more to offer them as lead animator, talk to them about it.

Look – they’re using your stuff this much, so they clearly like/need your work. Now take control of your destiny by letting them know (diplomatically) that you know what you’re worth, would like to continue working with them but on more equitable terms. And if they aren’t interested, don’t work for them anymore. It is literally as simple as that. If they take but won’t give, your future with them is dead, so move on. No good ever comes from working at a place that takes advantage of you. You don’t have time to find other work, you get complacent thinking that it’s probably better here then elsewhere. It’s not. There are good people out there willing to pay the going rate, and even some that can’t but find other way to make it worth your while. you won’t find thos opportunities sitting at the desk of a company that doesn’t respect you.

And, again, get a contract.

—————————————-
Aharon Rabinowitz
aharon(AT)yahoo(DOT)com
http://www.allbetsareoff.com
—————————————-
Creative Cow Master Series DVD
particleIllusion Fusion Volume 1
available @ http://www.pIllusionFusion.com

[Aharon Rabinowitz]

The licensing agreement. Check it. Check with the software company just to be sure it’s OK.

Then check with the company you’re working with. In a corporate environment, they don’t just let you install software on their machines – You have to get permissions to do that sort of thing. In a smaller animation house they might let you do it.

If it’s OK, then nothing is stopping you. I wouldn’t hold my breath though.

Besides, what’s to stop them from paying $200 for the plug-in instead of your salary? If they hire a student and buy the plug, they still come in much cheeper.

—————————————-
Aharon Rabinowitz
aharon(AT)yahoo(DOT)com
http://www.allbetsareoff.com
—————————————-
Creative Cow Master Series DVD
particleIllusion Fusion Volume 1
available @ http://www.pIllusionFusion.com

[Zander]

i think the better soultion (for the original idea of rendering only at the office) is simply using and external hd, rendering from the harddrive, and then dragging a copy onto the computer, boom done, no aep, the plug in idea has many legal flaws, like use rights, corprate computer policies etc.

if your working there..well as said your aep is theres as all the work was on there machine, as aposed to rendering there to save time..they obviusly aren’t using the computer and your not doing any work there other then the rendering (which isnt very creative)