Price Quotes

[Tony]

Lori,

Bidding on this job for a flat rate is to be avoided as you will end up losing and working hours you are not paid for.

Tell the client what your hourly editing rate is for labor and equipment and what the client must deliver to you before you proceed. On multicamera jobs you need to be absolutely sure the camera masters all have matching jam synced timecode or else you will have to sync the material yourself which is not your problem as long as you charge for the additional time to fix a problem which was created during the production process. Do not allow the client to adopt the attitude that they can have you “fix it in post” and not pay for the time it take to do so.

I highly suggest getting some start up money up front given the massive amount of hours you will spend on the project.

Do not deliver the final masters to the client without receiving the final full payment.

Some questions to consider before accepting this job.

Do you feel qualified to take on this large job?

Do you have the necessary editing skills and experience to sail through this job smoothly?

Do you have another editor you can consult with to assist you with some of the work?

Ask yourself these tough questions before you get yourself into a hole you can’t get out of.

Ultimately your reputation and career as an editor are on the line. Remember you are only as good as your last job.

Good luck,

Tony Salgado

[David Roth weiss]

Lori,

There is only one way to charge for something that is open-ended or infinitely variable, and that is to charge by some unit that is finite and calculable — i.e. units of time, such as: by the hour, the day, or the week. When you buy eggs at the grocery you pay by the dozen. When you buy gas, its by the gallon. Like the grocer or gas station operator, you also need to charge a specific amount for a specific unit. In your case, its for your creative/technical time and abilities.

And, you should make it very easliy calculable — meaning, don’t get fancy and start breaking it all down into machine time vs. your time, vs. writing, vs. online, vs. graphics etc. For example, I have only two types of billing time, 1) consulting time, and then 2) all the rest.

Hope this helps…

DRW

[Jeff Carson]

I see the potential for a train wreck here. Any way to find someone more qualified and experienced to sub this out to? In the end, it then gets done right and you are the heroine by pointing them in the right direction. There are many big multi-camera video companies around which you can hire and then be the producer. Just find someone who feels like the right fit… someone who will guide you along and teach you what they can about these kinds of projects without making you feel like an idiot. I suggest you pass on this but try to land another similar simpler gig and build up to it…

IF you take the job… create a generous estimate and add 25% at the bottom and simply call it a contingency line. I find most clients understand that amount will fluctuate and they feel like you are still being honest with them. If you come in under that amount, you look good too.

Good luck!

[Lori Miranda]

Thanks so much for your help Jeff. However, I feel completely qualified to handle this. I was actually the one that the job was handed to by another colleague who felt I was more qualified. I would be editing it- not directing the shoot. I have edited many multi-camera projects, and have no problem doing this. I live in a small area where the rates are less than larger cities. I also work within a small community where I try and cut deals with people. I merely asked about rates because this is my first job with an outside company that I know has money. I didn’t want to overshoot or undershoot and sound like I didn’t know what I was doing just because I’ve worked in a more local, grassroots scene (mainly non-profits). I was just curious about traditional going rates. I really appreciate your help, but would still love to know the actual figure for hourly rates. Thanks.

[Videobiker]

Lori,

Here in NYC I get between $50 and $65 per hour as an editor, depending on the job, facility, client, budget, etc. Most of the time taxes are taken out, some times they are not at which point I slot away 1/3 for Uncle Sam.

I have just taken on my first project on my own FCP system; 6 weeks, documentary, 49 minutes TRT. The budget was fixed at $18k for the offline. I just got the finishing/online for an additional $4400 for 4 days. All the days are 8 hr days. NO OT! This was all negotiated and agreed upon weeks before starting, IN WRITING!

In NYC I know guys who get $1K per day(8hrs) for them and their rig.

I would venture to say that you should be able to get $600 per day and up. I would not go any lower than $600 for the type of work that you are describing.

Good luck

Biker

[Walter Biscardi]

If you have the proper experience to pull this project off, $500 – $1,500/day or higher would be the going rate for you and a properly setup system.

The best way to approach a project this large is to listen to the client, determine how long you think it will take, add 2 weeks to that estimate, and then give them a proposal that says, “Based on the information provided, I feel it will take 6 weeks to edit this project and the fee will be $800/day for a total of $24,000. Any days beyond the estimated time will continue to be billed for $800/day.” Just fill in your day rate in the $800. As others have suggested, you do not turn over the masters until you’re paid and you may wish to ask for a deposit if this project will run longer than 2 weeks.

$50 – $65/hour is way too low for any professional video editor if their rig is included regardless of the NLE.

Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.com

Now in Production, “The Rough Cut,” https://www.theroughcutmovie.com

“I reject your reality and substitute my own!” – Adam Savage, Mythbusters