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what’s the day rate for a touring editor?
hey gang so I’m not sure if this job is out of the box or just in too many boxes, but I’m curious what you all think:
A band has recently shown interest in bringing me on the road in the fall for a full US tour lasting roughly 6 wks. My responsibilities would include editing footage/creating graphics for projection before the tour as well as running the projection through Ableton at every show. I would likely help load and unload band gear each day, and there’s a chance I could be the LD for a few dates as well. The band is pretty successful with a dedicated, decent size following, but this isn’t an arena tour. Since my job would involve equal time in FCP/Motion/hauling gear/and running the visual element of their live show finding the standard for a day rate is pretty tough. What’s your call on minimal/fair/you got lucky pay rates? Thanks a lot folks!
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6 Replies
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Since you’re going to be wearing so many hats, you just set a flat day rate. It can’t vary based on what you’re doing. You’re essentially their audio / video technician for the run of the concert.
So start with your basic day rate, let’s just say $500/day.
Multiply that by the amount of days you’ll be on the road touring.
Now consider whether or not the band could afford that number you came up with.
If you know they can’t, now figure out just how much you can afford to live with. There’s your bottom line.
So present the high number to the band first, and know what your absolute minimum is to do the gig. If their number is lower than your absolute bottom line, then you say thanks but no thanks, maybe you can work with them on the next tour.
If it hurts you financially to go on the road for 6 weeks, then there’s no point in doing it.
Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.STOP STARING AND START GRADING WITH APPLE COLOR Apple Color Training DVD available now!
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If it’s a business, then treat it like a business: what is your day rate? A grand a day? $500 a day? Whatever that day rate is, charge that.
But if you are going to do it for “just whatever you guys can afford,” then it isn’t a business, it is because you are a fan.
Best regards,
Ron Lindeboom
Creativity is a type of learning process where the teacher and pupil are located in the same individual.
Perfection is achieved, not when there is nothing more to add, but when there is nothing left to take away.
– Antoine de Saint Exupéry -
Thanks for the replies guys, I appreciate it! In your experience Mr Biscardi is $500 a day pretty standard fare for this kind of work? To Mr Lindeboom’s point to date I’ve only been paid on projects by the hour or, depending on the work, a flat rate for a completed video so I’ve never worked on a by the day type scale. I’ve had the right combination of talent/luck to get to a place where I’m making pretty great cash as a freelancer, and holding on to that is priority one. I’m definitely looking to make above the bottom line. Thanks again guys, your help here and in other parts of these forums is appreciated!
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[Jonathan Fraser] “Thanks for the replies guys, I appreciate it! In your experience Mr Biscardi is $500 a day pretty standard fare for this kind of work?”
This is all wholly dependent upon your skill level and the equipment you provide. Rates vary from $200 to $1,000 per day and up.
I simply used $500 as an example.
Walter Biscardi, Jr.
Biscardi Creative Media
HD and SD Production for Broadcast and Independent Productions.STOP STARING AND START GRADING WITH APPLE COLOR Apple Color Training DVD available now!
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aside from hampering your other money-making opportunities… I’d write a scope of duties and times that you are on the clock. (I hate going out of town and clients thinking that I’m on duty 24/7).
1) outline what you will be doing and when. If you get there at noon to load in, shoot and edit, then strike at 1AM or later – that’s 13 hrs. If you do $500 for 10 hrs, that’s $50/hr. Time & 1/2 for the remaining 3. Is this the schedule EVERY night? What about days that don’t include a gig? Plus you may lose work since you can’t be in touch as if you were in the office – I’d add more in for that too.
2) I’ve got producers at $550/day, but they’ll also do $1200/wk for longer gigs.
3) Is it your editing and camera gear? Don’t forget rental charges. And what if you gear goes down? Know the tour route and coordinate the day before your next location to have local resources in hand for immediate rentals/repairs. Or bill them and take backup for your backup.
4) I know shooters that bill a 4-day week if I book them for 7 consecutive days.
Just some ideas in manipulating your fee. I agree with Ron that you are a business, not a friend in this case. Make sure you have clear payment arrangements before you get on the bus – in writing.
Sounds like it could be a very cool gig!
Steve
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Unfortunately it’s your normal day rate. You’ll never get more for toting gear and sleeping on a bus, although your really should.
Chalk it up to fun. Make friends with the rodies for the fringed benefits.
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