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How would you estimate this?
I worked on a project for a friend because I wanted to see his pillow project succeed.
He asked me how much such a commercial would cost, and I had no idea what it might run him out in the real world.We were not able to get on an airplane or train to shoot the video, so I green screened everything.
I’m used to costing my editing project by the hour, or by the project, but since I hadn’t really done this kind of effects work before, I didn’t know how to approach it.
Any thoughts on how you folks would estimate the final cost of this?
https://www.youtube.com/watch?v=wAdkm6urRPQ
Thanks!
– Ben
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29 Replies
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Is the Kiro a competitor or what you shot on spec?
That’s worth a minimum of $25,000 by my estimation. To get the ball rolling. That’s production, gear rental, talent, rental for the space, post, audio…
– Rick
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Rick Dolishny
Discrete Editors COW Leader
http://www.thecreativeprocess.ca -
People still run :60’s?
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This is what I shot on spec.
One test shoot to make sure it would work with stock photos, a second shoot to make the :30 version and a third to make the :60 version which if the one he wanted for air.
It was shot using a Sony Z1U in HDV. For the final shoot I tried capturing footage directly from the Z1 using a Black Magic Intensity Pro to avoid 4:0:0 problems.
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It’s an infomercial. :30, :60, very common. 1:20 is now considered “long form” which is kinda funny. And of course the 28:30 still exists. Although in some markets I’m seeing 13:30 which is strange but up and coming.
– Rick
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Rick Dolishny
Discrete Editors COW Leader
http://www.thecreativeprocess.ca -
For green screen I’d shoot BetaSP over HDV and upconvert the SD to HD, but that’s open to discussion!
– Rick
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Rick Dolishny
Discrete Editors COW Leader
http://www.thecreativeprocess.ca -
I’m jealous of how well the compositing came out, would like to know more about how you put that together. The spot compares favorably in appearance to the many others we see on the tube. That is, it looks very much like the rest of them. Which could be good, because it’s familiar, or bad, because it’s not distinct and memorable from the rest.
I don’t think anybody runs 60’s anymore unless they are part of a longer infomercial. And you get more separate chances to make an impression running two thirties for the same money as for one sixty, IMO.
When figuring out the costs, are you factoring in fulfilment? Because an outfit like Bamzu not only makes the spot and arranges the time buys, but also handles taking the orders, processing the credit cards, and shipping out the product.
What you charge for the spot alone is based on time and materials, plus your markup. To handle all thsoe other things I mentioned would obviously add much more to the package.
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[Rick Dolishny] “It’s an infomercial. :30, :60, very common.”
Yeah, :60s and longer are usually seen for “infomercially” type stuff.
I’m taking a wild guess here since we have never really counted, but I’m betting that in my little company’s tenure we have probably produced something in the range of 10,000 television commercials. Exactly two of them were :60. TWO.
Strangely enough though, for radio here :60 is more common than :30, because at least in our market radio spots are sold by “units” rather than by time, and at many stations a :60 costs no more than a :30. Weird.
We have, on the other hand, produced a lot of TV spots that were shorter than :30. We recently talked to a client who wanted all this stuff in his spot, and then found out that he only wanted a :15. Its also amazing how many national spots you see on network TV that are just :10.
Sorry to get the post sidetracked….
T2
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Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
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I should add that I thought the compositing was pretty darn good.
T2
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Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com
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Wait a minute I’m confused.
Again, is the Kiro spot YOUR spot, or is that the spot the client said “make our spot look like this one”?
If the client is in fact Kiro and this is your work, you did a great job. Bill it!
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Rick Dolishny
Discrete Editors COW Leader
http://www.thecreativeprocess.ca -
Yes – The Kiro Pillow spot is my spot. if you look at the YouTube previews, you’ll probably see a link to the :30 version.
I did most of the compositing in Final Cut in HDV. The Chroma Keyer in FCP was much more forgiving to the HDV compression than what I found in After Effects or Shake.
I did use shake for a couple of the keys where I used DVCPRO-HD for.My client is doing his own marketing for now, and the spots have helped him get his foot in the door with folks. The :60 spot is for local cable inserts. I’m not taking part in the fulfillment at all.
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