Bidding Process

Q:

I’m in the middle of negotiating a contract for a job I really want. The contract gives me no right to use the images for self-promotion, and effectively states that I could be sued for doing so. 

Should I take the money and work on building the relationship, or should I fight for my rights at the risk of losing the gig?

A:

I would talk to your contact at the company and gauge their flexibility. Explain why you need to show this work in order to secure future opportunities. 

Hopefully, they’ll be receptive to your concerns and willing to work with you on terms that are fair to all parties. At the very least, do your best to advocate what’s fair. 

Our industry also benefits when we stand together on issues like this. I understand why you wouldn’t want to walk away from the job over this, but asking for what you need (in a respectful way) shouldn’t cost you the job.

FACT: “Producer” is one of the fastest-changing bidding roles I’ve seen. Nowadays, jobs can come from producers, as clients hire them directly to do the bidding. Producers may also be one of the bidders on the job themselves, so it’s hard to track where we stand automatically. Refrain from anticipating or assuming anything about the structure when you hear the term – Producer. 

Bidding on a job – 

What’s the ‘special something’ you offer that will set you apart from the other bidders? How do you stand out? Have your unique skillset ready to focus on before you get on the creative call with the clients. Connect their branding goals with the distinguishing value you’ll bring so you can be the resource they are looking for!

Q:

Any thoughts on what to charge just for a GIF?

A:

Specific negotiation topics to consider when pricing a GIF:

• It’s not a free extra, as a GIF is a highly valuable commodity.
• Image count, which forms the basis of our fee structure, must be considered for the stream of multiple images.
• Be specific with usage, as a GIF is a series of images used together and may not be priced the same as individual images.
• Clarify which size of video or motion usage is included for quality performance.

Q:

What do you do for your photographers when you have a second or third hold on a job trying to confirm, but the money is better on the one unconfirmed? What is the hold protocol? We haven’t heard much from others about how to handle holds, etc. Thanks Andrea!

A:

 I always use honesty for holding photographer’s dates by letting the clients know when we have others also asking about those same dates. A good general way to respond is, “As of right now I, am available those dates.” You also have the ability to encourage the client with the better budget to move quickly by letting them know you have a second hold and that someone else wants to officially book you.

Q:

Is it standard to charge for every additional shot taken rather than a grouping of images? I’m trying to avoid wasting time with the “just shoot these extra options” and clients not selecting those images.

A:

Clients will ask for and take as many images as we let them, and I don’t blame them for that. It’s their job. We must clarify by setting financial restrictions on our estimate before we get on set. When bidding, my first question is how many images are needed, and then I set up the estimate precisely around that. When I hear “library” of images, meaning as many as can be finished per-day, I set the fees higher for those shoot days.

Why does the SHOT COUNT often get downplayed as the EXTRA detail of your fee? No, don’t give away free images! The shot count is one of the cornerstones of your rate. The best way to handle this is to break out the usage per shot in your fees, but often, clients prefer a day rate to include it all. However you set up your fee structure, remember the shot count is not some tiny additional detail as clients may suggest.

What is a PITCH?

A ‘pitch’ can be your proactive way of introducing what you offer to potential clients, usually through an emailed Treatment-style PDF. 

Three types:

1. Images of your style matching the type of work they do

2. Production company methodology of what you handle and provide

3. Specific conceptual concept project idea 

*Thank you Mary Dail (Big Leo Productions-@bigleoproductions) and Traci Terrick (Poppy Creative Agency- @poppycreative), for our Friday discussion on “pitches.”

Q:

At what bid price do you include a treatment, and when do you decide the production is too small to require a treatment? I have a cut-off in my head, but I’m a grumpy old-timer.

A:

When you are up for a job that you want based on financials, opening the door, or creative exploration, you put your time into an awesome treatment. If it’s a low-budget, one-time situation, you can create a PDF of the appropriate images without writing a detailed production plan for every category. Either way, using an A+ design that stays strong with your branding is key.

Bidding a job can be a quickly played, fast-paced, reactive decision game anticipating how the client could respond. The wrong move can cost us the job. We want to be honest about what we can do for their budget, but sometimes, we must educate the client to understand the situation and how we can best serve them. Be a part of their side of the process, join forces with them, and play the team player role.