Quote from Harry Calahan: Well, opinions are like assholes. Everybody has one.
Or better said:You don't tell them their film is terrible. You tell them you're too busy.
It's a matter of opinion if the movie is good or bad. Your opinion does not matter to them.
Perhaps a referral will make them happy and gets you of the hook?
Never say no. Often times, your quotes aren't even over-quotes. They're just far too much money for independent productions to afford, simply because post sound is too often misunderstood and neglected. If you are firm about your rate and are polite about it then people will respect you. Maybe they'll get enough money next time or recommend you if ...
Dan has the best answer so far. Maybe I'm not as lucky as others but if a client wishes to pay the proper rate to get their project up to snuff sonically, then I'm willing to do it. My personal opinion of the film is not relevant any way. I don't believe in throwing out unjustified jacked up rates just to run them off or get over paid either, that's a bit ...
In my opinion, there is no commercial art. When you produce something with the intention to sell it, it is a product and not an artwork.
So for me, the purpose is the deciding factor, if something is art or not.
As an example:
The music industrie vs. homemade music:
The music industrie engineers songs on purpose. From the start, the songs are written for ...
Apart from strictly "audio production work":
• Selling sound effects and sound effects or sample libraries
• Preset design for musical instrument or audio effects plug-in developers
• Marketing for musical instrument and audio gear manufacturers
• Renting recording gear and studio facilities
• Acoustical consultation and studio design/building (but you need ...
I have turned down projects in the past but I now very rarely do that (unless it's a project not worth doing, that is). I've found that it's much better to have a couple of sound editors that you can trust to ship on extra workloads too, if necessary. Plus, it's often great experience for younger sound guys. They do the groundwork and I can qc and final mix ...
Besides the day job at the studio, I generally have between 2 and 5 projects going on simultaneously. But they're not all big projects. Right now I have three stage shows going on, with staggered openings between October and April. Those are the big projects. Besides that I have to prep an M&E mix for an indie feature, put together a couple of sound ...
Seems like a simple question, but is tough to answer.
My first response would be, it depends. Meaning that dry spells can last 1 week or 6 weeks.
Pipe lines may be cut off or lengthened, anything is possible and you adapt as you go.
But i can tell you this, I never say no to a client just because i'm to busy. If i do it is
mostly because the project is not ...
As far as the question of "competing with or against" there must be some of each, but this website strikes me as a great example of "competing with" in that by posting here, sound designers are helping each other out. I am only starting out in this field but in my experience, it's a competitive field, but sound guys are by and large not competitive in ...
Field recording is the most crowded area of SFX libraries. For a passive income you may need to find more specific areas.
For contract works, without a portfolio, the only way is to go for your close circle and try to join projects of someone you know in person.