Challenges of the week give artists the opportunity to create new and fantastic art based on a weekly theme set by the challenge moderators. They are also a great place to develop core skills.
Being featured on ConceptArt.org can get your artwork viewed by millions of artists a month including big industry leaders.
|Color and Light||1.1||Do Assignment|
|Color and Light||1.2||Do Assignment||1.3 | 1.4|
|Illusion of Space and Atmosphere||1||Do Assignment|
|Personal Art||1.1||Do Assignment|
this is a freelance job and i was wondering if someone with professional experience could help me get an idea of what an honest quote should be for this project.
GAG suggests an hourly range of $75-$125 per hour, with a day rate of $750-$1000. You can find more detailed information on pages 165-167.
I've seen artists go as low as $50, for those just starting out. Most professionals who regularly work with large studios and have a reputation for their work are charging $120 these days, I think. Some people have minimums, or make contracts for a specified time.
The most recent edition of the GAG handbook is the 12th edition. There is usually a copy available at a public library, or can be purchased at www.gag.org.
And that's for experienced artists with a specified output. Without any knowledge of your daily output, asking for fifty dollars an hour will have that indie film giggling all the way to the next applicant.
Also, find out what those storyboards are for. Pre-visualization boards can be messier than 'show offs', done faster, etc.
Negotiate a per-page or per-project rate - your own speed and accuracy dictates what the hourly will end up being.
Per page/project? Have you ever actually done boards under those terms?? I was under the impression it was always an hourly/salary kinda thing, especially since a storyboarder is usually a on-location worker.
storyboarding takes up about 60% of my "professional" activities. always either per drawing, or per project (based on x amount of days booked, rates per day apply)
mind you, i'm talking mainly commercial clips (roughly 10-30 drawings) and short films (50-...)
my advice would be to find out an estimate on how many drawings they need, and the level of detail/finish they expect. you should know for yourself how much you can do in a day. go from there
good luck, and enjoy!
ps: i rarely work on location, apart from being briefed and doing superquick thumbnails to make sure the angles and main movements are what the director had in mind. after that, i go home and flesh out untill i flash out
I mean seriously, do you?
Well, let's add one. Me
From what I know about this touchy subject, you can go in and declare war, quote a variety of numbers, and give them the 'final offer' / take it or leave it speech. But, I'm positive you're not the only one being asked for a bid(quote).
Assuming you haven't finished your interview for this, I'm going to give you the low down on how to navigate through it.
Ask the following questions:
1. What type of movie is it? Comedy, Action, Drama, etc.
Why? The more action there is the more work it will be. And that's the truth at which point you can figure out your 'rate' (I'll explain this in a minute)
2. How much detail is needed?
I mean let's face it, the more you draw, the more you're going to make. Also does everything need to be story-boarded? Sometimes we only do the key scenes that will require at least two days to shoot. Other times we'll do several scenes jut because, it varies.
Do they want it tomorrow? If so, thanks but no thanks. Or if they're willing to give you at least a million dollars..
4. What are 'they' willing to pay?
I mean seriously, I'm sure they already have a magic number, let's just cut to the chase!
5. Can I be on a weekly?
As in paid as a weekly retainer. If we're talking about a 120 page script, there's no way in hell you should do it for a flat fee. PERIOD! In fact, I've never (EVER) seen anyone do it for a flat fee/rate. And if you have? Can I have their e-mail address? j/k You get the gist.
BTW, you did notice that I deliberately put item #4 towards the end right?
The reason why I'm not going to give you any pricing is because I don't want you e-mailing me two weeks from now having you tell me that I 'screwed' you and that you're locked into an Ironclad contract and that you're going to get me banned on CA for screwing you.
Instead, I'm giving you (and anyone else willing to listen) the tools needed to negotiate. Too often we (as artists as a whole, and yes that includes me) go in gun-ho and 'state' take it or leave it you miserable-life-sucking-vampire whose going to make millions off of my work!
Since I've let the other side do the talking, I've picked up a good number of development gigs. I'm not preaching to do it my way, but maybe sometimes it's better to let the other guy talk for a bit so we (as artists) get the big picture and then can start a decent negotiation. It's hard to bargain from 0, but it's definitely easier to bargain at 100.