| I used to write scores for documentaries, industrials and tv dramas when I lived in Toronto back in the 70's. They weren't big paying jobs, but I made a decent living by being creative about how I charged.
First of all, I was a part owner of a small recording studio where I would record the scores, so I earned money from the studio charges.
Secondly, I also was the conductor or lead musician for all the sessions. The sessions were always union sessions which I ran strictly by the rules, so as the leader I earned double scale and further additional payments for every instrument I doubled on, usually 2 or 3.
Thirdly, I also did all my own copying and music editing, so that also kept the money in my pocket.
My composing fee was always minimal, but I traded a lower up front fee by restricting the licensing rights I awarded. For example I would either limit the time or the territory that was included. Time extensions or foreign rights would have to be paid for later, usually after the client found a foreign distributor, and often at a pre-determined fee. While this may not be typical in work for hire situations, I found that the clients were generally willing to agree to this arrangement because I had a reputation for being reliable and flexible, plus I did everything I possibly could to give them a great score at a reasonable price.
I should emphasize that these scores had all the parts written out and were recorded in booked studio sessions with the clock running. I would give a written estimate of the studio time required and how much that would cost and the sessions were booked in the clients name. The client was always welcome to attend the session, so they could see what they were paying for. I would play them sketches of the music beforehand, so they had a general idea of what they would be getting, and they were always informed that if they asked for changes in during the session, they were responsible for the overages in session fees and studio time.
I understand that when composers create scores in their home studios by themselves using modern computer systems that this scenario doesn't really work, and that is the downside of that type of score.
The one thing that I have learned over the years from working in music, film, graphic arts and several other industries is that people tend not to value what they don't have to pay for. If you give something away for free, you yourself have set the value of your contribution, and the client will definitely absorb that message. I'm not saying that you should price yourself out of the market, but you need to let the client know that your time, creativity and the product you are supplying is a valuable asset for them.
I used to do a fair amount of pro bono mixing for student film makers until I realized that they never came back when they had a budget, yet my professional clients were very loyal. That's when I clued into the fact that I had devalued myself in their eyes by giving them something for nothing. |