- How much does it cost to make a video?
- Want a job in TV?
- How to choose a production company
How much does it cost to make a video?
The usual but not very helpful answer to the question ‘how much does a video cost?’ is ‘how long is a piece of string?’ Although each video production is a unique creation, there are some factors that are common to all productions. A common fallacy is to think that a 10-minute video will cost half as much as a 20-minute video. A production budget is made up of a number of elements and by understanding how the money is spent you can better judge what is important for you. The following notes are intended as a very rough guide to video budgeting.
The Agency
Some clients like to work with an advertising or design agency. The agency normally selects a production company and oversees the whole project. This is the usual method for TV commercials and big budget corporate productions. A good agency can add much to a production, providing a coherent overall design and ensuring the client’s corporate image is enhanced. Often, an agency will be the creative driving force behind a production, initiating storyboards and writing scripts.
Costs and fees Some agencies have hourly rates, billing the client (£75 - £450 per hour would be typical) for the time they spend on the project. This charging method is transparent but fees can escalate if things go wrong or if the client changes its mind (this has been known!) Alternatively, agencies can add a ‘mark up’ to the production costs (17% - 50%) and include all in-house costs within that mark up.
The Production Company
Most production companies are small businesses employing a skeleton staff and relying on freelance crews and facility companies. Usually, the bigger the company the higher the overheads but you do have the reassurance that there should always be someone available to help in a crisis. A surprising number of successful production companies are, in fact, single producers working from home and using a large network of freelance technicians.
The producer can be compared to a house builder, working with the script or treatment (a word picture of what the video will look like and its aims and objectives) to ‘build’ the video, rather as a house builder works with the architect’s plans.
Costs and fees Expect to pay about £30 - £90 per hour for a producer/director (more for TV commercials) and lesser fees for Production Assistants and Assistant Directors, if required. Sometimes a ‘production fee’ is charged to cover marketing costs, insurance and administration. Scripts and/or storyboards might cost about £2,000 although, depending on the type of production, they are not always necessary. Treatments are vital and, if property researched, can take many hours to prepare. Sadly, most clients expect them to be part of the pitching process so their true cost is hidden and, if the pitch is unsuccessful, borne by the production company’s existing clients. A wise client will select a company first and then pay for a Treatment before committing to a full production.
The Shoot
The norm is a 2-person crew (camera and sound) shooting on DVCAM or Digital Betacam with a small lighting kit and a sound kit. But recent improvements in camera picture quality have narrowed the gap between the semi-pro camera costing £2,500 and the broadcast camera costing £50,000. Consequently, perfectly acceptable productions can be made with the cheaper equipment at a fraction of the previous cost. But you still have to use skilled technicians to get good results so this may not be the right choice unless you are working on a very small budget. Some shoots will require large lighting rigs, camera cranes and additional production personnel. Often the producer will double as director.
Costs and feesTypically, a 2-person crew with broadcast standard equipment will cost from £700 - £1,400 per 10-hour day. A single technician with a semi-professional DV camera can be as little as £350 per day. Of course, the production company will usually add 20% - 50% to these costs to cover overheads and profit, unless it is charging a separate ‘production fee’.Other extras include travel, accommodation, meals, tape stock and overtime. If a camera crane or a large lighting or sound rig is required costs will increase, as more specialist technicians will also be needed to operate this equipment.
Presenters and Actors
If a video requires performers or presenters it is usual to hold a ‘casting session’ where there is an opportunity to meet a number of candidates to determine who best meets the needs of the production. However, sample tapes are readily available if casting is not considered necessary. Where a separate voice-over is required CD voice samples are available and artists can be booked by the hour.
Costs and feesWell-known presenters (currently appearing in television programmes) often charge £3,000 or more per filming day for corporate work. Other presenters and actors normally charge £250 - £600 per day and non-featured extras about £90 per day.
Actors do not usually charge for a casting session if it is held in a central location (e.g. London) Voice artists charge about £250 for a 60-minute session and a suitable sound studio will cost about £150 per hour.
Editing, Graphics and Music
The process of editing the recorded material and preparing any graphics that may be required usually takes about 2 or 3 days for each day of filming but much depends on the type of material, the number and complexity of graphics and effects required. Because of computerisation, many production companies now have in-house post-production facilities, which can help to keep costs down. Any music used must be licensed through MCPS, an organization whose members write music especially for TV, film and video use. Alternatively, a composer can be commissioned to write music for the video or ‘royalty paid’ music can be used, where the purchase price of the CD includes the owner’s right to use it in any production. Commercially released music can only be used with the permission of the author and performer. Of course, you can always steal the music but if you wouldn’t steal from a neighbour why steal from a musician?
Post Production Costs Editing rates vary considerably. A production company with its own system might charge £500 per day whereas you would pay about £2,000 per day in a top West End suite. Much depends on what video format is being used and the complexity of the edit. Commissioned music can cost from £500 to £3,000 for a 10-minute video. Library music (MCPS) rates depend on how many copies are made, type of use and the territory required. A 10-minute corporate video using 5 minutes of music will typically cost £750. ‘Buy out’ music is often provided free of charge by the production company but choice is rather limited. Commercially released music can be expensive and complicated to licence. Copyright ceases once a composer has been dead for 70 years but you still have to pay the performers..
Extras
Depending upon the scale of the production there can be many other costs: studio hire, set design and build, aerial platforms, stunts, special effects, costume, make up and much, much more. But that is really beyond the scope of these brief notes.
So how much does a video cost? In 1967 Film User magazine published an article about corporate film budgets. It said that that a corporate film cost about the same to produce as the price of a house. In 1967 the average house price in the UK was about £4,000 – today the same house would cost £195,000. Clearly, this is one rule of thumb that no longer applies! The main thing to remember is that the more complicated the production and the more people involved, the more it will cost. Like most things, you get what you pay for but there is no point in paying for what you don’t need.
At Just Film we now specialise in films for charities but we also take on some corporate work. For a rough quote please call Chris Pettit on 01923 269599 or email web@justfilm.co.uk
What do I have to do to get a job in television?
The term television also covers film production, corporate video, DVD production and web casting.
Above all you must be really determined – there is so much competition in the film & video industries, only those who really stick at it will get through (unless you’ve got a double first from Oxbridge, in which case you probably wouldn’t be reading this!). You must be prepared for many rejections and setbacks but if it’s what you really want to do, more than anything else in the world, then you’ll get there in the end.
Is it worth it?
Yes, in my opinion. If you want a job where you meet some amazing people, visit some incredible places and where, much of the time, it doesn’t really feel like work at all – then its for you.
What training do I need?
At one time the only way you could get proper television training was at the BBC. In practice most people learned on the job and formal qualifications were rare. Nowadays, you can’t move for Media Studies courses and every aspect of film, video, TV and the visual arts are included. It’s not so much that you need training to work in the industry (on-the-job training is still important), as the fact that all your competitors for job vacancies will be waving diplomas and degrees so why would anyone look at you without one?
What are some of the qualities I need?
Stamina and perseverance - whether you’re working as part of a film crew or in an edit suite there will be times when you just have to keep going. Deadlines must be met, or you’ve reached a crucial point where to stop now would mean losing everything. If you moan about feeling cold or tired or hungry you’ll have a negative effect on everyone else.
Good team player - they all say that don’t they. But if you want to be part of a production unit it’s essential. If the only thing you have to do is cue an extra at the right moment, or pull a cable when the camera has reached a certain point, but you’re daydreaming and funk it, then you’ll let everyone down. You may only be a Runner with a really boring, simple job to do, but if you get it wrong it has the same effect as the lead actor forgetting his lines – the shot must be recorded again. So being a team player isn’t a cliché, it’s essential.
Good Judgement – you don’t have to be particularly bright to have good judgement. You can’t take a course in common sense. But these are both qualities that will stand you in good stead because there’s no manual to consult - every programme is unique and you won’t find yourself in exactly the same situation twice. Whatever your particular production role, you will often have to use your initiative.
Good judgement is important but you mustn’t be judgemental, instead you need to be …
Broad-minded – particularly if you are working on factual programmes – news, documentaries, etc. – you will see life from every angle and it’s your job to help others put their point of view across. You have to leave your opinions and prejudices aside and view things from another perspective.
Diplomat – assuming you start out as a Runner or Third Assistant it will probably be you who has to go and ask the builders to turn off their pneumatic drills for a few minutes, or else placate the irate neighbour who wants to get out of her drive NOW! You will also need to be good at child minding because nothing attracts the local kids like a film crew setting up.
Flexible – Schedules are useful and it’s good to be organised but stuff happens! You have to be ready to change your plans at a moment’s notice. If you are the kind of person who likes everything to be set in concrete perhaps a job in the accounts department would suit?
Does that mean that everyone who works in television will have these qualities? Sadly, no! But they are characteristics that employers will be looking for. You should also be obsessive about your chosen field – crazy about sound, devoted to design, geekish about cameras – and if you want to be a director it must be because you have a unique vision and are desperate to put in on the screen.
If it’s the glamour that attracts you, it will soon fade. Humping a vanload of heavy equipment up to the top floor of a block of flats with no lift is not very glamorous! But you will be invited into people’s lives, where you will be privileged to share secret moments and go places most people only dream about. Getting a job in television is not easy but it must be one of the most rewarding and satisfying careers around.
© Chris Pettit, Just Film 2008
Commissioning a video
If you are thinking about having a professional video made to publicise your organisation, or for training or sales purposes, there are a number of questions you need to ask yourself before you start to look for a production company.
Who is my audience?
If you have a very clear idea of the types of people you are trying to reach it will make it much easier to make decisions later about content and style. What are the age, sex, social group and intellectual level of the audience? How well do they understand English (if that is the language you intend to use)? How committed are they to the subject matter – do they need the information you are providing or will you have to get their interest first?
Where and how will the audience view the video?
There are many different ways to view video material today. Will it be viewed by a group, with
a live introduction and the opportunity for discussion afterwards? Or will it be viewed in isolation over the Internet or company network? How captive is the audience? There is a big difference between a seminar, where only the mind can wander and an exhibition stand, where the viewer can physically move away. How important is the audio? In some sales kiosk situations sound may not be played at all, or those working nearby may turn it right down. Repeated video is no problem but repeated audio can be gentle torture after a while!
What is my aim? What do I want the viewer to do having watched the video?
You can, of course, have more than one objective but the more you have the more compromises
you will have to make. When deciding your main objectives remember that video is good at painting a broad picture and showing how things look. It is not good at lots of detail (unless the viewer can easily stop and rewind). It is good at conveying emotions - and equally quick to reveal the phoney and wooden.
What format will I use to distribute the programme?
You need to think about this early on. Different criteria apply to producing a film for distribution on DVD and providing for a website. If there is a possibility that the film might be of interest to a television company, this should be known at the start. What aspect ratio should be used, widescreen (now the standard for TVs) or 4:3? It may not matter much but if you are using the video in a PowerPoint presentation do you want it to match the rest of the material, which will probably be 4:3. Is the video mainly for Europe, where PAL is the system in use or the USA, where NTSC is universal? All these variables can be incorporated from the outset but leaving it to the last minute could be expensive.
How much will the video cost and why can't we make it ourselves?
Cost will depend on what you are buying. A Mini is cheaper than a Rolls-Royce. Do it yourself? Maybe you can - particularly if you have the help of someone with basic training in video production. Certainly adequate equipment is affordable now. It really depends on what standard you need to achieve. You may be able to greatly reduce costs by using some of your own resources and people. A good Production Company will work with you to maximise value for money.
How do I choose a Production Company?
Commissioning a Production Company is a serious act of faith. You will be parting with a large sum of money without any guarantee of how it will end. That's why most companies rely on recommendations and repeat work for the bulk of their business. Websites are the obvious place to start; search engines and directories will provide a good list of suitable companies in your area. Who are their existing clients? What kind of work do they do? How experienced are they? In the end you will pick the company that you feel comfortable with but here are a few suggestions of what to look for:
Track record. What have they produced for other people? See and, if possible talk to, their clients in person. But don't worry if they can't show you an example of your particular subject matter. Every commission is different and requires a fresh approach. Off the peg solutions rarely work well.
Producer or salesman? Who will be the day-to-day contact? Is the person selling the company going to do the work? You need to establish a good working relationship with whoever is going to produce the video? Will this person be on the "shoot" and at the "edit" or will they produce from behind a desk.
Big or small? Many Production Companies are sole traders working with a network of freelance technicians. This can work in your favour because you won't get passed around the company. On the other hand what happens if he/she is struck down? Is there someone who can step in to carry on your production? A large Production Company will have the resources to ensure continuity, but at a price - higher overheads will probably mean less of your budget appears on the screen.
Choose the best company or the best treatment? One common method of choosing a Production Company is to ask several companies to provide a treatment (a document, sometimes with a storyboard, showing how a particular creative idea might work). You then decide which treatment you like best
and that company gets the job. The trouble is you are not really choosing the company. What you are choosing is an idea, often written by a freelance writer with only minimal knowledge of your organisation. As all the competing companies are paying for the treatments out of their marketing budgets, their objective will be to win the commission with the least effort. Only larger companies can afford to play this game so you become locked into the high profit/high overhead world of the bigger companies. True, if you have a large budget this may not be of concern. An alternative method is to choose a company first and then work with that company to produce a well-researched creative treatment. If you wish, you can just pay for the treatment initially and only commit to the full production when you are happy with it. There is one crucial advantage in working this way - both you and the producer have the same goal in mind, to arrive at a treatment that meets all your aims and objectives within the given budget.
We hope the above will help you think through some of the key issues. It may be that video is not for you - in which case you'll know when you've found a good production company, because they'll be the first to tell you so! Pity you won't need them now. Maybe next time!
