Bidding Process

Q:

Hello! I have a question. My producer and I did a major bid for the product launch using many models, it involved a huge production of set building, and various teams for what they asked for. We ended up not getting the project, it was nothing that was asked of us as far as production, sets and look. Is there a way to approach the agency when bidding that allows us to be bidding the same job – apples for apples?

A:

While we can’t predict or control the bidding process, we can ask every question to help us understand the production details. The key is to have an A+ producer and make sure you get on a creative call, as that is where we get our answers. The purpose of three-way bidding is to protect clients in a fair apple to apple comparison, so they are not overpaying. Our goal is to protect ourselves by understanding all the information, even when we may have to dig around to get that info.

Clients don’t always have all the facts when we are bidding a job, leading us to under-bid certain areas. If more responsibility falls into your lap than expected, don’t hold back in stating your case to request more $. Clients know that some gray areas may result in an overage, but they need us to be the ones to ask for it.

Sometimes we bid on projects where we don’t have all the information yet, and the client may not have all the details either, leading to many assumptions. We should include “TBD” (to be determined) on those line items in our bid to protect ourselves. Even if we don’t include them, once the job is awarded and more responsibilities shift to us that were initially thought to be handled by the client, don’t hesitate to ask for additional funds. Address any new needs or changes directly with the client—don’t get frustrated. Often, they will understand because the situation was unknown at the time. Request more prep days, additional tech scout days if needed, extra post time, or anything else necessary. Remember, just because the bid is awarded doesn’t mean you have to absorb these changes without discussing them.

Make an educated choice when choosing a producer to help you bid a job. Be aware that some charge a 10% production fee on the expenses and some don’t.  Some do waive that fee if you ask, so know that you do have options.

When you are bidding for a job you have to ask yourself if you need a producer and if so, which producer do you need? There’s a new element to our decision, it’s called a production fee. It used to be called a markup fee and then ad agencies did not want to pay that fee. Now it’s called a production fee. What we’re paying for is 10% of the production expenses that gets paid to the producer. They want to be covered for giving their employees health insurance and other expenses to keep their business going. It’s a new concept and some producers don’t charge it, but some do. Think about that and ask that question when you are choosing your producer.

What you need to deliver in the creative video call to get the job:

• Enthusiasm
• Unexpected Bonus Ideas
• Throw in a relevant comment or two to reinforce your specialty, which has you on their shortlist for this project

When asked to bid on a job you’ll probably have a creative call. This is more important than ever because it’s video. It used to be a phone call and it wasn’t as personable. They didn’t really get a sense of you as much. Now it really weighs in on their decision who they are going to choose for the job. You have to have your enthusiasm to show your excitement for this job because they’re handing it over to you. They want to know who you are going to be on their set. Once you get the creative deck which is the mood board and the shot list, think about technical ideas because that’s your place in this. What are you going to bring to the job? They want to hear from you. Why exactly did they choose you for this bid? Think about that one thing that separates you and is unique to you for this job. Fit it into the conversation and have a question in mind or a thought, something you’re going to say about a shot that you can relate to and you know that is why they brought you in on this.

Bring the client’s BRANDING into your bidding approach as much as possible. Do your research, ask the questions, as the ultimate purpose of receiving the job is to achieve your client’s branding goals.

When we’re in the process of getting a job, there’s a lot of times where we can focus on the branding for the client. We need to make sure a lot of what we are working around is their branding because that is what’s most important to them. Do your research to find out what their brand is. Check out their website. If they don’t make it clear what the feeling/color/ tone is then ask about it and make sure you mention it in your treatment. Because that’s what they want to hear. They want to know that you’re a part of it. You’re not just a part of this one shoot, you’re part of their long term vision.

Navigating the Unknown Episode 17 – Where are we right now and what do we need to do? Is now live on YouTube! This week we speak to Producer Joy Asbury and Producer Michael Horta about where our industry is headed now. 

Guests: 

Joy Asbury – Producer, joy Asbury Production https://joyasbury.com/

Michael Horta – Producer, MJ68 Productions http://www.mj68.com/

Navigating the Unknown is a Q&A series in collaboration with APA-LA where we speak to different members of the photo community about all aspects of the commercial photography business. https://la.apanational.org/

With Co-Host: Photographer Hugh Kretschmer https://www.hughkretschmer.net/

The creative call is the time to give your technical examples of how you will be bringing this project to life. It may seem like the time to listen, but it’s really the time to talk. 

The creative call feels like you’re just getting their information so you can do the bid. That’s really not what’s happening. They want to hear from you. Make sure you give examples of what you’re going to do so they can achieve that look they’re going for. Be really specific. Give examples. It’s your time to step forward. That’s really what these calls are about. Be the one on the call giving the information vs just receiving.

The TREATMENT webinar gives us the story behind the words and visuals needed to get us the job and why we need to take this seriously. Templates need a slice of who we are in them, personalized to stand out, illuminating you are the right choice for the project. Don’t settle with your treatments; take them further; use what is revealed in this webinar to make your template YOURS!

Last week, my webinar was on treatments—the one unspoken big mystery of how to create a treatment, why to do it, and what’s needed to get the job. We covered a lot, but there were several key points that stood out to me that I want to highlight.

We had two guests: Scott Rickels, a treatment writer, and Mary Dail, a good friend of mine and rep at Big Leo Productions. Mary created a fictitious layout for us as an example of a treatment. Her design included the scope of the job, which I’d never thought to include in a treatment before—it was very smart. She also added a small copyright notice in the bottom left corner, not too large but useful for protecting against unauthorized use for comps. Her design effectively replicated the feel of the fictitious client we were targeting, making it a perfect example of a treatment.

Scott Rickles addressed a common concern: What if they don’t read the treatment? He pointed out that the words have to be engaging and not just a page after page of text, which can be intimidating. He emphasized that the real goal of the treatment is to add personality and flavor to what you bring to the job technically.

There were so many nuggets of wisdom shared. To fully understand the purpose of a treatment and how to use it to get the job, I recommend checking out the webinar.

Navigating the Unknown Episode 16 – What Goes into an Impactful TREATMENT that Gets the Job? is now live on YouTube! This week we speak to Treatment Writer Scott Rickels and Artist Rep Mary Dail from Big Leo Productions about how to create a cogent treatment. 

Guests:

Scott Rickels – Treatment Writer

Mary Dail – Artis Rep, Big Leo Productions https://bigleo.com

Navigating the Unknown is a Q&A series in collaboration with APA-LA where we speak to different members of the photo community about all aspects of the commercial photography business. https://la.apanational.org/

With Co-Host: Photographer Hugh Kretschmer https://www.hughkretschmer.net/

Treatment Final Edit Checklist:

1. SPELLING and GRAMMAR mistakes are more damaging than you may think. 
2. Use every opportunity to use SPECIFIC words/concepts relating to this client and project in particular. 
3. Consistency of the organized structure through similar placement, layouts, titles, fonts, etc., to make it easy for them to follow.

Treatments are so important. When you are bidding for a job, you should always do one. Even if you think it’s too small of a job or the client doesn’t need it. Always do a treatment. There are three things to watch out for. The first is spelling and grammar. We know it seems little, but it really stands out if you have mistakes on your treatment. You’re a director, your attention to detail is important. The second is to be specific. You’re probably working off of a template. Make sure that the general lines that describe who you are and how you shoot always include the specifics on that job. That client is wanting to hear how you will shoot their job and not just how you shoot in general. The last one is consistency. Your style and how you set up the content in your treatment should always be consistent. Don’t jump around, make sure the treatment reads smoothly. You’re giving them something that can help you get the job. Remember that. Put time into this.