Advertising property on internet,presentation programs for mac free,movie editing list - .

Your property is up for lease: but is your business really ready? Your property management business must have a smooth move in, move out process in order to efficiently and successfully find tenants for vacant properties.
Before you list a property, make sure that you have a good understanding of that home’s property information.
During your tenant screening, it’s also important to be clear about the rules of the property. After tenants move in, keep them with you and reduce the amount of move in, move out that you need to do. When you’re looking for a smooth move in, move out process, you need a system to help you manage your data and bring your rental property advertising online.
The latest information and trends related to the rental housing industry will be delivered to your inbox. Fill out this form to attend our Live Demonstration to help you choose the right software for you and your property management firm. Find out how Propertyware's property management software can help you streamline operations, cut costs, and help you grow your business.
Propertyware provides single-family home and low density rental unit property managers with a web-based, completely integrated property management software solution designed to maximize revenue, enhance productivity and reduce costs. Growing Your Property Management Business: Skills for SuccessWhy are you in the property management business? Producer: We included a producer (including travel fees and expenses) to manage the crew, employee talent, locations, stylists, catering, parking, scheduling, local transportation, and just about any other logistical concerns that may come up throughout pre-production and the shoot. Styling: We brought on two stylists (and one stylist assistant) to manage HMU, supplemental wardrobe (the subjects would provide a few of their own outfits and the client would provide necessary uniforms) and supplement personal props like handbags, folios, phones, etc. Shoot Processing for Client Review: This fee covered time, equipment and costs for the initial import, edit, batch color correction and upload of the images via FTP (or similar) for client review and selection. If you have any questions, or if you need help estimating or producing a project, please give us a call at (610) 260-0200.
There were 16 displays that needed to be photographed, and I felt that image #1 was worth $2,000, image #2 was worth $1,000, images #3-#7 were worth $500 each, and images #8-#16 were worth $250 each.
After calculating a fee, I put pen to paper on the expenses, which as I mentioned, were based on a high level of production. Photographer Scout Day: Part of the logistical challenge for this project was that some of the displays were before the airport security checkpoint, others were beyond it, and the agency wasn’t quite sure exactly where each display was. Producer Days: The local pool of producers was bare, and the specific producer that the photographer and agency hoped to work with was actually based out of town and would be traveling in. Catering: Based on previous experience shooting at airports, I knew our catering option would be limited to the airport’s internal food services company. Insurance: I anticipated that the airport would require a certificate of insurance, and that their requirements would likely eclipse what a typical photographer’s policy would cover. Producer Travel: As I mentioned, the producer would be traveling in, and I grouped their expenses into one line item. Casting from Cards and Adult Talent Days: As opposed to a live casting, the agency was interested in casting talent based on their headshots, which made sense since the talent would likely be unrecognizable anyway. Groomer Days and Wardrobe: The talent would be bringing their own wardrobe based on specs provided by the agency, but they requested for a stylist to be present to make sure they looked presentable. Feedback: Overall, I knew this estimate would be too high for them, and while I anticipated a discussion regarding a decreased level of production, they specifically asked to see what it would take to execute a project in this way.
Feedback: Despite the cuts, the agency hoped to trim the budget even further, by about half the amount.
Results: The photographer was awarded the project, and given the light production footprint and the fact that the displays all ended up being before the security checkpoint, the coordination with the airport wasn’t too much of a headache. If you have any questions, or if you need help estimating or producing a project, please give us a call at (610) 260-0200. Licensing: Trade Advertising and Trade Collateral use of two images in the US for two years. After determining what I felt was an appropriate fee, I checked other pricing resources to see what they suggested as well. The agency asked for an option to expand the licensing from trade to consumer use within a concurrent time frame, and I felt that this increase should fall somewhere in between an additional 50% to 100% of the fee, or at least be as valuable as 100% of the first hero shot. Photographer Scout Day: We planned to do a walkthrough of the location before the shoot, so I made sure to include pre-production time for the photographer to attend. B-Roll Videographer and Video Equipment: While photography was definitely the main objective, the agency hoped to acquire video content as well during the shoot. First and Second Assistants: We’d need extra hands on site, not only to help set up and break down, but to also assist with moving furniture around and putting it back in place alongside the styling team.
Location Scout, Location Fee: Upon initial discussion regarding the creative direction, the client was looking for a pretty straightforward and simple residential property.
Production RV: When possible, I always try to include a production RV for shoots like this to keep as many cooks out of the kitchen as possible. Live Casting and Talent: The agency requested a live casting (rather than casting from cards) and wanted to capture video of each talent to see how they presented themselves and interacted with others. Equipment: At the time of estimating, we were debating whether it would make sense to shoot with strobes and then set up continuous lights for the video, or if we should just use the lighting setup for video and have the photographer just shoot without his strobes.
Shoot Processing for Client Review and Selects Processed for Reproduction: We included $250 for the photographer to do a quick edit and provide a web gallery, while adding $100 per image to touch up the chosen files and deliver them to the agency.
Feedback: While we knew that our estimate fell within their budget, we also sensed that they might be interested in increasing the scope of the project.
Live Casting and Talent: Since we’d be casting four talent instead of two, we increased the casting fee to account for more time to prep, shoot and book talent, and we increased the talent fees to account for two additional people.
Wardrobe: This also increased, but didn’t double since the outfits that were requested could easily accommodate more than one talent.
Selects Processed for Reproduction: This was a quick change to jump from two to six images, and to cover the time it would take to process more images. Production Insurance: Throughout the negotiation process, we learned that the agency had insurance requirements that the photographer’s policy didn’t specifically cover. Results: The project was awarded, and the client opted to expand the licensing to include consumer use. If you have any questions, or if you need help estimating or producing a project, please give us a call at (610) 260-0200. We were approached by a fashion and beauty photographer to help draft an estimate after she was contacted by a major lifestyle magazine based in the New York City area. Because of the nature of this use, it might seem it doesn’t fit cleanly within the normal terms we use to describe licensing (which are Advertising, Collateral, Editorial and Publicity). Client Provisions: The magazine had picked out the six locations, hired the talent, arranged transportation and designed the looks. Many of the provisions would be supplied by a video team that would be following along, capturing some BTS shots and creating how-to videos showing how the models were styled. Assistant: Considering the lighting requirements (little) and the additional bodies (several) we opted for only one assistant here.
Equipment: Even though the client was looking for natural light, we wanted to make sure there was enough money available for the photographer to rent additional lenses, or provide subtle lighting to supplement the existing scene.
Shoot Processing for Client Review: After the shoot, the photographer would need to upload all the images, cull the unusable frames, lightly batch process the images and upload them to a web gallery for the client to review and make their selects from. Selects Processed for Reproduction: Once selects are chosen, the photographer will need to process the images for use in the final product. Result: We were able to get a budget from the client before-hand, and we knew this was a bit above what they were hoping for. Hindsight: As great as it is when a client accepts an estimate immediately, it always makes me wonder if we underbid the project.
If you have any questions, or if you need help estimating or producing a project, please give us a call at (610) 260-0200. As in most instances with this type of licensing, their requested use wasn’t 100% in line with their intended use and it was clear that although they may have taken advantage of the full licensing for one or two images, most of the images would primarily be used for collateral purposes only.
Based on the pro-rated per image fee I calculated, I noted the cost of additional images if they wanted to license any of the “nice to have” shots captured throughout the day. B-Roll Videographer and Audio Tech: The client was originally hoping for the photographer to capture video and audio content throughout the day in addition to the still images.
Assistants and Digital Tech: We anticipated that the photographer’s first assistant would attend the scout day and that they’d be joined by a second assistant and a digital tech on the shoot day. Producer and Production Assistant: The photographer had a local producer lined-up for this project and we anticipated three prep days, one scout day, one shoot day and one day to wrap everything up.
Live Casting and Talent: The photographer used to live in the city where the shoot was taking place and had really strong connections with local talent and agents.
Airfare, Lodging and Car Rental: As noted earlier, while the photographer would incur these expenses, she was willing to work as a local and absorb the cost. Shoot Processing for Client Review, Color Correction, File Cleanup and Delivery: While a digital tech would be on site to help manage the workflow, we included $500 to account for the photographer’s time to do an initial edit and provide a web gallery of the entire shoot. Catering: We anticipated nine people on the scout day and up to 41 people on the shoot day (including crew, client, adult talent and child talent along with their parents) and based the rate on $50 per person. We recently put together an estimate to shoot a variety of environmental-lifestyle portraits alongside a video production for one of the country’s largest for-profit colleges.
First Assistants: The concept, along with restrictions associated with shooting alongside a motion production meant we wouldn’t be firing strobes (in most scenarios).
Shoot Processing for Client Review: On most library shoots, you may have to batch process all images captured, which we estimate on a daily basis (1 shoot day = 1 day of batch processing). Catering: Since we wouldn’t necessarily be with the video production all day, we made sure to include a line item to cover crew meals throughout the four shoot days.
Results and Hindsight: The photographer was awarded the project which went so well that the client hired him to do a second round not long after.
When discussing the project with the photographer, I told him that this is actually quite common in the world of commercial architectural photography. Despite their intended use, it’s common for such clients to request unlimited use (including advertising), which was the original request from this client.
Additionally, the commercial architectural photography segment of the industry has established rates that have more or less become standard. There’s nothing inherently wrong with these “standard” rates, as long as the photographer recognizes projects that fall outside of the typical project for an architecture firm or an interior design company. In this case, we knew the parties were all interested in having the photographer capture 30 exterior images (20 during the day and 10 at night), and 20 interior images. A common tactic used by architectural photographers in these situations is to add a 33% surcharge to the fee for each additional party involved, and have all of the clients split the overall fee and all expenses. First Assistant: The photographer would bring his first assistant with him, and this accounted for two travel days, one scout day and four shoot days.
Second Assistant: We included a local second assistant for each shoot day since the venue was quite large, and the photographer would need an extra set of hands to carry and set up equipment.
Shoot Processing for Client Review: This covered the time it would take the photographer to transfer and review all of the images in order to compile a web gallery for the client to choose from. Selects Processed for Reproduction: As I mentioned earlier, it’s common to separate image processing fees and charge them to each party involved based on the images they want.
Results: The project was awarded to the photographer, although he did end up making a few concessions by waiving his travel days, reducing the post processing fee a bit, and coming down on his equipment expenses.
Digital Tech: $500 covered the tech’s day rate, and she was willing to travel for half-rate. Assistants: Since the photographer would be bringing his trusted digital tech (who also jumps in as a photo assistant when needed) along with him, he was comfortable with hiring local assistants in each of the two cities. Equipment: The photographer routinely travels to shoot editorial location portraits and has a lean but comprehensive kit of gear he flies with. Styling: For the stylized shots, the agency was considering props to help exaggerate the concept.
Shoot Concept: Environmental lifestyle images of professional talent working and interacting in various business scenarios alongside a video production. Licensing: Worldwide Advertising, Collateral and Publicity use of up to seven images for one year. The art producer asked us to submit an estimate reflecting a two-day shoot (which is what the video production company estimated), and since we would truly be piggy-backing our portion of the project to the video, our estimate needed to reflect this.


Even though most of the images were unique, I felt it was appropriate to determine a fee for the first image, and apply a discount for the subsequent images since it was most likely that the client would only take advantage of the full licensing for just a handful of images throughout the year. On one hand, I initially felt the fee was low since this was for a major brand capable of taking advantage of the international advertising licensing that the photographer would be granting. From the initial advertising to move in time, these rental property management tips will help you smooth the path when a tenant moves out. During tenant screening, you must have a process for checking references and the credit history of your prospective tenants. This is partially due to the nature of their product and the fact that they are trade oriented and don’t deal with consumers directly. Additionally, we determined the value for the 12 principal images was considerably higher than the 24 variations. The lighting kit would be minimal, but we’d be moving a lot and wanted to make sure we had enough hands on deck. Major set props would be provided by the client – basically, we would work with existing spaces as is. The shoot went as smoothly as it could have and everyone was stoked with the final product. We’re available to help with any and all pricing and negotiating needs—from small stock sales to large ad campaigns.
We’ve estimated many projects like this before, and while they typically come with tight budgets, those budgets are often justified by a low level of production needed to capture the content. That brought me to $7,750, which I thought was appropriate for the licensing and one day of shooting, but I felt that the additional shoot day warranted a bump to the fee, so I added about $2,000 to account for this, and then rounded back down to an even $9,500 which I thought would be more palatable. For this kind of shoot, it’s rare that a client would have a big budget, but at the same time, they wanted to shoot professional talent in a major airport before and after the security checkpoint…not a simple task. We also included a second assistant to offer an additional set of hands to help move lighting and other gear around to the various locations throughout the airport.
In addition to the travel, scout and shoot days, I included adequate prep and wrap time for the producer to coordinate the project. For a still photo shoot (rather than video) with more than five people on site, they listed a location fee of $1,000 per day.
I included $60 per day per person for up to 13 people (including the crew, talent, and agency representatives).
This fee included the time (likely spent by either a producer or a local casting agency) to request headshots from multiple talent agencies based on certain demographics, organize and deliver the results, and then correspond with individual talent agencies to book and confirm the talent.
I included a rate that would allow us to bring in a stylist from another city if the limited pool of local stylists happened to be unavailable.
I felt that the reduction of the additional day was worth a decrease of $2,000, and that the reduction of 10 shots was worth a decrease of $2,500.
We’re available to help with any and all pricing and negotiating needs—from small stock sales to big ad campaigns. I felt the second image would be a bit less valuable, but different enough that they’d be able to use in unique ways or to present a different message.
I settled on $7,500 to make it a palatable option, while also realizing the agency would have to take into account increased talent rates (which I developed with our casting director).
With a crew this size and lengthy list of logistics to monitor, a producer would be a key role to take on those responsibilities. Since most location scouts have plenty of residential properties that would fit this bill in their database, I included one day to account for a file pull, and one day to account for extra time they might need to spend shooting new pictures of the location we chose or to find additional options.
An RV would afford a place for the stylists to set up, space for talent to wait, an area to arrange catering, and a private area with wifi for the client if needed.
We included two prep days, one shoot day and one return day for both the stylist and their assistant. Either way, I was confident that $1,500 would cover the photographer’s gear should he choose to use it, or it could be added to the $1,000 already included for the videographers gear to help supplement that to include a lighting setup. I’d typically increase the rate for the gallery to $500, but we’d have a digital tech on site to help organize the assets and accomplish some of this work as it was being captured.
Sure enough, the agency came back and told us that they were interested in shooting another scenario with two additional talent during the same shoot day, and they asked for a revised estimate.
My first inclination was to double the price, but upon further consideration, I felt that the first image of the second scenario might be equally if not less valuable than the second image from the first concept. So, instead of shopping for four unique outfits, many of the same items would be appropriate for multiple talent which I anticipated would result in cost savings. The photographer would need to increase his policy and pay an additional fee to his insurance company in order to do so, and hoped to pass this cost along to the agency. We’re available to help with any and all pricing and negotiating needs—from small stock sales to big ad campaigns. However, we consider the use to be more along the lines of what we might normally call advertising use, due to the value the client is getting from the images, and the final use of those images, being similar. As such, some of the tools we consult when calculating licensing fees do contain a print advertorial option. You might land on $1,000 for the first image for one year, which would be a sensible place to start. The brand provided their own stylist, well versed in using only the brand’s products to achieve a variety of looks.
In different ways, the photographs and the videos would be equally as important to the overall campaign, and just as prominent in the execution of the advertorials.
With six locations to get through in the day and an unknown amount of travel between, working quickly would be crucial to a successful shoot. We might have included a second assistant if not for the client-managed video crew, if only to make sure that the area of the shoot is secure. This money would also cover the photographer’s owned equipment, rented to the production at market rates. This takes at least a couple hours, so we want to make sure the photographer (or her retoucher) is compensated for the time, skill and equipment required to produce the previews.
Expenses: During the scout day, the photographer and her assistant will need to travel and eat—this fee allows us to get reimbursed for that expense.
However, we were able to negotiate an increase to cover the additional cost, and the shoot was executed smoothly. After a conversation on what was accomplishable in one day and determining which shots were just “nice to have” as time allowed, we settled on 20 images to initially be licensed for three years of unlimited use.
With that in mind, I decided to first determine a price for one year of licensing and then extrapolate to determine what I thought was appropriate for three years.
I also provided an option to increase the licensing from three years to five years for an additional 50% of the fee and from three years to perpetual use for 100% of the fee.
While she had a bit of experience shooting video, the shot list was so ambitious that we felt the production would be jeopardized if she had to switch back and forth from stills to video throughout the day. We also included a PA for the shoot day as well as an additional day for either the scouting or for other prep time to help the producer.
I anticipated that the wardrobe stylist would need three shopping days and one shoot day and that their assistant would help shop for two of those days, attend the shoot and then return the wardrobe afterwards. We included one day for the talent options to come to a studio and have their headshots taken for consideration and wrapped up all of the prep time, equipment and expenses into one line item.
Unlike most higher education clients, for-profit colleges generally have a bit more to spend on promotion as their business model depends on brand awareness and expansive reach more than a “traditional” college or university, with few exceptions. We’d be shooting all of this in conjunction with a video production, which was responsible for coordinating all of the production elements.
As much as we try to avoid simply pricing based on the day, unfortunately it’s a trend we occasionally embrace, to a degree. We included a prop stylist to help finesse available props at a given location and a groomer to handle basic hair, makeup and wardrobe adjustments.
In this case, we limited the initial deliverables to 75 images, meaning that the client would need to review a gallery to make their selections. This way, if the client order less than 75 images, they would still be on the hook for the full amount. At first, they wouldn’t reveal exactly who the other parties would be (or perhaps it wasn’t finalized at that point), but from conversations with the photographer and client, it was likely that they were collaborating with the architectural firm that designed the venue, the company that would promote the events at the venue, a local design firm and potentially the local tourism board. It typically takes many parties to plan, build, decorate and manage a property (whether it’s a residential house or a commercial building), and it therefore makes sense that all of these companies might want images of the final product to help promote their particular product or service. However, I felt that such usage should be negotiated separately for each client (especially in this case since there were a few companies involved that could take full advantage of unlimited use), and we were able to convince them to limit the initial licensing to Collateral and Publicity use only. That’s mostly due to the same type of projects arising again and again for the same types of clients with similar expecations for the scope of the project and licensing. Also, based on the shot list, time of day required for each shot and the photographer’s experience, we determined that the shoot would require four shoot days. This tactic and approach can vary, especially if each client wants different images, but based on this concept and the fact that everyone was planning to share all of the images, we decided that each additional party joining in would increase the fee by $3,300 (33% of the $10,000 fee). Flights were a few hundred dollars round trip, which I rounded up to $500 per person (for the photographer and his assistant) to include baggage fees and fluctuation. Additionally, I included $100 for each shoot day to account for miscellaneous unpredictable expenses that may have come up during the trip. Since most architectural images require a descent amount of post production and layering, I included this rate to account for some basic compositing the photographer would need to do prior to showing the images to his client.
However, since we felt we were already at the limits of the budgetary threshold, we included all 50 images for a single lump fee of $10,000. However, the four other clients did jump on board, which increased his fee by $13,200 ($3,300 each). It’s not a new concept by any means, it’s just that we’ve estimated a flurry of projects leaning in that direction recently. The client wanted to walk away with two images of each of the two business owners: one shot would be stylized, and the other would be more authentic. In this case, we set the value of the first year of use for the stylized, campaign image at $3000-$4000, and the first year of use for the authentic, collateral version at $1000-$2000, or $4000-$6000 combined. We did include two days of preproduction time to cover either a freelance producer or the photographer’s time to hire the local crew and make travel arrangements. However, because we could conceivably rent that same gear in each of the locations, we estimated as if we were renting gear locally, which would technically save a day of rental costs. Because the specifics were still being determined, and the incorporation of props was up in the air in general, we didn’t want to unnecessarily inflate the bottom line (particularly after we decided to tweak our fees to keep the bottom line around $35,000). There were seven images they hoped to capture, many of which were in different environments with unique talent. It was possible that the information provided and discussed with the video production company was a bit different than what we were presented with, but given that they’d be responsible for the majority of the logistics and details (and since it was their responsibility to cram it all into two days), we were comfortable presenting an estimate for the photographer and his crew to tag along to capture still images of their setups. I decided that the first image was worth $7,000, images 2-3 were worth $4,000 each, images 4-5 were worth $3,000 each, and images 6-7 were worth $1,500 each, totaling $24,000. Keep track of your tenant information by storing it and connecting it to the information about that particular property.
Through effective communication with tenants, you’ll be able to manage problems before they get out of hand.
Keep up a consistent maintenance schedule with property management software that helps you plan your maintenance in advance, coordinate the details of contractor contacts, and track repairs and maintenance that have already been completed. Have detailed steps lined out for move out property inspection, and use software to store data on the property and compare it to the state it was in when your tenants moved in.
The agency was developing a new web presence for the client, along with a number of trade print ads, all of which humanized the brand by highlighting the employees who manage the day to day operations.
The additional 24 images were described as “pickup” variations of the 12 principal images. This one was a bit different in that it came with an elevated level of production and unique logistical challenges, but the licensing was comparable to other similar projects, and was limited to internal collateral use by the client, and use of the images on the agency’s website as part of their portfolio.
I assumed they’d want to do this project with a really small footprint, but upon speaking with the art buyer, I learned that they anticipated a crew inclusive of the photographer, multiple assistants, a producer and a groomer, on top of the talent and agency representatives being present. Working with an airport can prove to be incredibly time consuming due to security measures, especially when you aren’t working on behalf of an airline or the airport itself who could otherwise provide access and connections to ease the process. They also listed various personnel at hourly rates, including operations officers, police officers, fire marshals, engineers, electricians, and “other” support staff.


We were basically asked to take a scalpel to the expenses, and see what we could do with a reduced level of production (they were willing to concede to 2 talent on one of the days, were ok without a groomer, mentioned that they might be able to pre-scout the location, and said they could handle the retouching). Rather than 16 displays, they were hoping to capture just 6, which would help to make the project a 1 day shoot. We also removed the casting and talent fees, and reduced the expenses across the board to account for one less day. Taking that and my previous experience pricing similar projects into consideration, I priced the first image at $7,000 and the second image at $5,000.
Getty suggests a price of $4,800 per image for print advertising, but didn’t have a catch-all collateral pricing rate or the option for specific trade usage. Given the limited creative responsibilities, I felt $1,500 would cover a camera operator who could also offer grip and lighting expertise. In the area where the shoot would take place, and based on prior experience, I felt a location fee of $2,000 would return a solid list of options to choose from.
We anticipated that $350 per talent would be more than enough to cover non-returnable wardrobe, and that $1,650 would be a good starting point for extra props to fill out a room in a residential property (tables, chairs, other small pieces of furniture, flowers, picture frames, vases, etc). I had considered adding an extra $3,750 for image number three and $1,500 for image number four, and felt that the third image in each scenario didn’t bring enough value to increase the fee much further.
Interestingly, while I would have anticipated an increase to the prop budget since we’d be shooting in two scenarios, we felt that after analyzing some location options, that we’d be able to use many of the items already in the houses to set up a simple second scenario.
Much derided and often ignored, advertorials and native content are hard to pull off right. The photos would show the fully-styled models in urban street scenes alongside videos explaining how to achieve the styles the models were showcasing with the brand’s products.
But perhaps the most salient consideration for this job was the client’s specific budget.
Lighting was naturalistic, requiring minimal gear, and the on-the-move nature of the shoot prohibited much catering or wardrobe. That aspect would be handled by the client and their video team, so in this case our photographer only needed her trusted first assistant. This also gives us a little wiggle room if a line item turns out to be more expensive than we expected.
In this scenario, we were able to do just that – come in slightly over budget and negotiate approval, thereby getting as much money for the photographer as we could. I initially priced the first image at $3,000, images two through five at $1,500 each, images six through ten at $750 each and images eleven through twenty at $500 each.
While we provided these options as requested by the client, I felt that the shelf life of the images was actually likely to be less than three years given the fact that many of the products featured in the images would ultimately be replaced within that time frame. Rather than removing the lines altogether, we decided to keep them in and simply include a “fee waived” note so the client would know that the photographer was willing to offer a discount. We therefore included a separate videographer along with an audio tech for the day and specifically noted that they’d be a “B-Roll” videographer to set the client’s expectations regarding the type of content they’d be capturing throughout the day. If she ended up needing to actually rent gear, we previously included an extra day for a production assistant to help pick up equipment as needed and figured this rate would cover those items as well. Even when tolerating the day rate fee structure, we try to take every opportunity to limit the scope of what is included in that rate.
This can be risky, but so long as expectations are aligned, it can be managed without too much trouble. Most of the time, architecture firms, landscape designers, interior designers or general contractors will want to put the images in their online portfolios or submit them to industry publications and contests, and other times they’ll want to use the images for collateral pieces and to have them on hand for other publicity purposes. Oftentimes, architectural photographers are charging up to a few thousand dollars a day, plus expenses and a per image processing fee. Since those parties were still being lined up while we compiled the estimate, we included this rate as a “licensing option”. It would basically get the images headed in the right direction before really diving in and performing the more time consuming processing. Most of these projects seem to be geared towards highlighting business owners who are reaping the benefit of some valuable service or product that helps them manage the daily challenges of running their own business—products and services like software, banking, staffing, logistics and, as in this case, healthcare insurance. The stylized version would be used for a specific ad campaign, while the authentic version would be used within the client’s various collateral channels.
He felt that $2000 for local rentals in each location would cover all necessary camera, grip and lighting gear he would need. The photographer and I originally assumed the shoot would take three to four days given the uniqueness of each environment, but we found out that a video production team was arranging all of the logistics to capture video prior to shooting stills in each environment, and that they would be dictating the pace of the project.
The agency asked us to give them an idea of what additional images would cost, and I decided that a pro-rated fee based on 7 images and $24,000 would be most appropriate. If the property is close to excellent schools or near local cafes, make a note of these details. Implementing an online application process can help with this element of tenant screening as well, since you’ll have tenant data at your fingertips and already stored in your system. By being clear about the rules during the screening process, you can ensure that you’re able to find the tenants who are an appropriate match for your property.
After tenants move out, you’ll need to clean and you may need to make repairs as well. The concept was relatively straightforward; the photographer would need to capture environmental portraits of client employees at client facilities on the West Coast. Because of the straightforward concept and relatively static scenarios, it was difficult to imagine these variations creating much value for the client. This falls on the higher end of the library ceiling I’d set (particularly considering the limitations), but the photographer has a unique approach and aesthetic favored by the client and agency, so we felt we could start with healthier fees. I anticipated we’d need to scale down after presenting these costs, but regardless, we had to show them what it would take to executive the project as requested.
I therefore wanted to make sure we included enough time to accommodate the potential headache.
After discussing some options with the photographer, we decided that he could handle the pre-production (for a fee) if it just meant hiring one assistant, doing a simple casting from cards, and corresponding with the airport (no second assistant, groomer, catering, scouting, producer). On top of that, the agency was also willing to do away with talent, and just hoped to shoot unrecognizable real people as they walked by the displays. I typically try to determine the licensing value for a single year first, and then extrapolate to account for additional years.
Corbis offers a “Print Ad, Collateral and Web Pack”, which seemed to fit the requested licensing nicely, and suggested a price close to $15,000 per image per year, but also didn’t include an option for trade usage. I anticipated that the $1,000 would cover his camera, a basic slider and video monitors for the client to view the content they would be capturing.
Since some of these items would be rather large, we included the cost of a van to help transport everything. While we wanted to bump the price to this amount, the photographer was eager to close the deal and wanted to offer a bit of a discount by capping it at $15,000 (we did however increase the licensing option to jump from trade to consumer use).
Some are overlooked completely, some annoy consumers, but the absolute best provide useful content that promotes the associated brand subtly and contextually, leaving a positive brand impression.
Apart from being hosted on the magazine’s primary website, the photos and videos (shot by a separate crew) would also be featured on a fashion-centric blog owned by the magazine as well as a microsite that would host all the content indefinitely.
Fotoquote, which includes a print advertorial option only, calculated $687 per image per year, while Getty Images quoted $2,230 for the same.
The photographer was eager to get the job, and inclined to try and work within their parameters. The photographer, stylists, client and talent would drive around New York in a Sprinter, jumping from location to location. The client was fine with the idea of reviewing images on the back of the camera, so we opted not to include a digital tech. We include this sort of line item on every shoot as a safety net to catch either small, unforeseen expenses or lump several minor expenses into one category. The images complemented the text and video well, helping to create social engagement and drive traffic to the client’s website.
We could have come in at or under the budget, but in the end we would have forfeited money on what was already a slimmer shoot. I doubled the total to account for the requested three-year licensing duration and then took a look at how that broke out on a per-image basis. We also noted that any and all video editing would be provided by the client in the “Job Description” section of the estimate. These rates were also based on the local producer’s previous experience on similar projects and we were therefore confident that the rates would suffice. With this configuration, there would be limited production support needed on the stills side.
However, because the tech would only be working on a laptop and moving frequently, we didn’t expect them to handle that process, and charged separately for the photographer to handle the processing for client review, after the shoot. In some cases, architectural photographers are even making more money on the processing than they are on the shoot.
However, that fee did not account for multiple parties, and I felt it was only appropriate for a single client. Even so, the agency was unwilling to negotiate different usage parameters for the different versions because of the remote possibility that either version could end up serving needs on both fronts. As for HMU and Wardrobe, we would be working with local stylists to ensure a genuine look with the real customers. Make sure that you take helpful and flattering photos of your property so that you can highlight it online to the fullest. Track the prices and reputation of local cleaners, repair people, and contractors who can take on larger jobs as well, and keep these at your fingertips so that when a tenant does move out, you have your checklist ready. Although the locations and talent would be provided, there was still a lengthy shot list, operational locations, and a fair amount of production involved.
We were confident that the agency would come back to us to negotiate if our numbers didn’t align with theirs because of the photographer’s preferred position. I felt $1,500 was an appropriate starting point, but noted that it was TBD and elaborated in our delivery that this would need to be dialed-in as the project progressed. On top of removing all of those items, we reduced the equipment, came down on the location fees (since it would be much fewer people on-site), noted that the escorts would be TBD, came down on the insurance and casting, reduced the expense for the shoot processing for client review, and adjusted the misc.
However, while I might typically add 50% to jump from one year to two years, I felt that based on the simplicity of the concept and the likelihood of a limited shelf life to these images, that the price increase wasn’t justified. Given the nature of the project, we agreed that this was still good for a one-day shoot, and I’ve seen similar projects land on similar rates while granting more licensing.
Overall, the magazine would be providing a lot of what photographers are normally asked to provide and what we normally include.
I had originally anticipated two prep days for the stylist, but the photographer had corresponded with a stylist who was comfortable with just a half-day to pick up some of these items and suggested a budget of $500. We also implicitly limited the number of images available to the client by only delivering 75 processed files.
Given the time it takes for an experienced architectural photographer to process an image, they can earn a substantial amount of money by charging accordingly.
So, that begs the question of how to charge for multiple parties licensing the same images. We usually like to include some shop time and wardrobe budget to cover our bases, but the client was adamant about using the subjects’ own clothes for authenticity and promised to adequately prepare them and communicate our needs and expectations. We must have hit the mark, because the agency approved the bid without a single question or requested revision (which is exceedingly rare). I also found out during conversation with the art buyer that their budget was around 50k, and I wanted to present appropriate fees while still keeping this in mind. To avoid any miscommunication about what the client would provide and what the photographer would be responsible for, I included a list of client provisions in the estimate’s job description, listing everything that the client would provide clearly and completely. In this case, because of the nature of the client, relatively low level of production required (on our part) and all of the above mentioned factors, we decided to price this on the lowest end of the value range, $16,000.
After pricing out the rest of the production and weighing the overall effective fee (including travel, prep, processing and equipment) we decided to tweak the number down just a bit further to $15,000, which allowed us to bring the bottom line into the $35,000 range.



Editing software free no watermark
Video play doh masak


Comments to «Advertising property on internet»

  1. 789_22_57 writes:
    Studio and even Avid are discussed trial or a student.
  2. JESSICA writes:
    Due to the higher quantity of customers who prefer e-mail marketing and text demands ActionScript.