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What's
the Difference?
A wide variety
of professional and high quality “prosumer” formats is emerging
in the broadcast arena, creating a very broad range of associated costs
and production values.
It used to be fairly
common for a video producer to ballpark projects at $1000 per finished
minute. However, these "guestimates" led to lots of confusion
because that ballpark cost originally referred to industrial pieces.
And even then wasn’t very accurate.
Unfortunately there
is no formula for estimating video and film production. And that’s
just how you want it, because you need to work with people who'll get
their heads into every detail of your project and figure out how to
maximize quality within your budget. There several factors that a producer
looks at when putting together a budget:
Formats
This is where the actual project should drive
the train. It’s important to determine and list the priorities
you wish to accomplish with your spot.
35mm
or 16mm Film
If you intend to go head to head with a national company with your image
campaign, you'll want to shoot film (either 35mm or 16mm) because you
can see the quality difference between film and most video formats,
and that quality reflects on your product.
Costs
to consider: With film, your production company will have to purchase
the stock and pay process and transferring fees which are fairly standardized,
but the more you shoot, the more you have process and transfer. Film
also calls for a qualified Director of Photography, not a just a camera
operator. With the DP comes an AC or assistant cameraperson, who will
load the film, check the camera and assist the shooter. Then too, there's
often a gaffer or lighting director although many times the DP can handle
this himself. Finally, sound recorded for film has to be synched up
during the transfer, which is a small extra expense, but will require
an audio tech who's familiar with film. At the end of the day, film
is still considered the highest quality format for broadcast television,
including commercials and theatrical releases.
High Definition
With its slick industry profile and 16 x 9 screen ratio, this format
is gaining ground in the commercial broadcast arena, in episodic television
and in the making of feature films. It has some limitations such as
depth-of-field issues and doesn’t always perform well in very
high contrast shots, but otherwise is a very high quality, versatile
format allowing for remarkable color correction applied directly in
the edit suite. It is important when working with and paying for the
benefits of high definition that the post production facility is set
up to digitize the footage without having to down-convert it first.
This defeats the purpose of going with a higher resolution image in
the acquisition stage. The cost of renting a HD camera package can be
more expensive than a film package due to more limited availability
and higher maintenance costs.
Digital
Beta
Offers many of the same advantages of High Definition. The actual camera
rental and perceived value tends to be slightly less, but the overall
quality is high.
Beta SP
This video format was the industry standard for a number of years. It
is used less and less as the technology explodes with more features
and options becoming available on a constant basis. The footage tends
to have a washed-out quality, but is still used for “bread and
butter” work where a project has to get done within a limited
budget and with a very small crew (such as used by local news). It is
acceptable for broadcast, particularly if post treated, but not ideal
given the number of alternatives available.
Mini DV
Several manufacturers now offer “prosumer” cameras and editing
equipment. For non-broadcast applications, these formats are acceptable
quality. They are being used in broadcast, but only in very low budget
situations.
People
You
know as well as we do that the people make the difference. That's why
we surround ourselves with the best.
Creative
Team
This is the group of people that are going
to brainstorm with you on the scripting and visual treatment of your
project. The team usually includes a scriptwriter, director and producer.
Sometimes one person covers multiple roles. Scripts are usually written
based on a flat fee for the project with some additional fees for radical
rewrites or complete changes in creative direction. Directors and producers
generally work on a day rate. Creative fees vary fairly widely, and
can account for large differences in budgets. Of course, with CPO all
fees will be determined and approved before work begins.
Crew
Crew roles tend to have roughly the same day rates across the board,
so this is not generally an area in the bid that varies much. However,
the decision of how many people to hire for a project is up to the producer
and largely dictated by the creative approach. If the set or location
require extensive lighting or if the camera direction requires additional
equipment, personnel has to be added to load, move and manage this equipment.
If the script calls for more than 2-3 talent, then additional personnel
would also be needed to assist in the on set preparation and coordination
of these individuals. This includes makeup and wardrobe stylists as
well as production assistants to handle the signing of releases. More
crew is not necessarily better, so it is important to hire an experienced
producer who can get all of the production roles covered without inefficiencies
of having too many people with nothing to do.
Talent
Depending on your choice of union or non-union actors, the talent budget
can vary quite a bit, with union talent being more expensive. If you
work with an ad agency that is a signatory with the union, you will
most likely have to use union talent. This goes for on-camera and voice-over
talent. There are no guarantees one way or the other with regard to
performance. The best protection is to hold an audition or hire a casting
director. An in-house audition is relatively inexpensive, from $500
- $750; a casting director will cost $1200 - $2000.
Locations
By and large, the physical place or places where a project is produced
will cost something. Studio rentals vary with the size needed and if
equipment or personnel is part of the package. Most studios will work
on an hourly basis with some sort of minimum. Rates vary from $100 /hour
and up. Locations have the same variables. Fees paid for locations go
from $350 up. If you choose to contract with a location scout, there
will be additional fees in securing locations. Estimate $500 per day
for this service. Also, make sure the production company providing your
services has insurance to cover any damages. Usually no less than a
one million dollar policy is required. Otherwise you may be liable for
damage.
TIMING
This is an important but often overlooked variable in the production
budget. If your project has to be turned on a dime, it will be yours.
This means that if equipment is not available and has to be shipped
in from out of town it is going to cost you. If you need to shoot a
beach scene in January it will cost even more.
POST
PRODUCTION
There are two stages in the post production schedule. The rough assembly,
or off-line takes place first, isolating the good selects and putting
the program in order. The cost of editing at a commercial production
house usually includes the editor in the hourly rate. For the rough
cut, rates vary from $175/hour to $250/hour. The second stage concentrates
on the flow and aesthetics of the post treatment and includes things
like color correction and titling or adding graphics. Rates for this
stage range from about $250/hour to $400/hour at a mid-range production
facility.
POST
PRODUCTION AUDIO
Proper audio production is vital to the final outcome of any project.
A good voice and or music track, a proper mix and layback are all part
of the post production process. Voice over talent fees range depending
on spot or project usage and whether the talent is union or non-union.
Needle drop or library music fees are anywhere from $100 per track to
$250 per track. Custom music ranges widely and can run into thousands
of dollars, but increases the production value of any project. Post
production audio is billed by the hour and rates range from $95/hour
to $175/hour in the mid-range recording studios.
MORE
Get the input of your creative partners as early in the project as possible
and don’t get stuck with or sold on a concept before you know
what it will cost to do it well. Too often clients have an idea that
they decide to produce for less and the end product reflects this. By
remaining open to the possibilities and conscious of the budgetary limitations,
you will always come up with something better.
 Product
is Hero
 Production
Values
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