Making a name for your facility

[legareal]

Hello everyone,

We are based in the UK and a long while ago were primarily a music studio. In recent years we have slowly made a move over into post, and while we do very small bits here and there. We are very keen on making a name for ourselves.

Our place is very small but it has a great environment and high end equipment (32 d-control/cedars etc..)

Its an extremely pleasurable place to work however we feel excluded from the industry somewhat and are really keen on breaking in.

Obviously we want to start hiring in freelancers and rely on their credits and skills to bring work and attention to the studio.

We really are in the deep end as to how this works though, does the freelancer have the work lined up and simply hire our place? Or do we organize work and appropriately organize sound editors/designers etc..

If anyone has any suggestions or could help with perhaps putting us in touch with some freelancers that would be great. I think our place has a lot to offer.

We'd really like to work together with people and build some bridges.

Thanks for your time slutz!

[Steven1145]

One thing that you should'nt forget is that just about ALL studios are pining for freelancers to come in with their own client base. Makes sense does'nt it? Now you have to figure out how to be better than the competition and actually make these freelance sound editors/mixers want to come to your studio.
When you think of it that way, you'll end up seeing that it could be easier to try to create your own client base. In any case these things take time. People will not naturally come to a (mainly) music studio for post because some of the aspects of post work are quite specialised (just like I will always refer clients who call for music work to... music studios).

One other thing that you need to keep in mind: post work has a higher price tag than music work. You might find this strange but some clients might be wary of a studio offering post production services at a very low rate (similar to that of a small+ music studio). Traditionnally there have always been costly video machines to pay for and stuff like that. The odd documentary producer will be very happy to pay much less as those are usually the projects with the less cash, but others might just think "ohhh that's a music studio trying to do post, does'nt cost enough let's go elsewhere". I might be exagerating slightly, but you get the picture I'm sure (no pun intended).

What sort of services/gear do you have? Can you layback to digibeta (which is the minimum video service nowadays)? Are all your sync devices rock solid? Do you have a big enough screen in the control room for the clients' ego to be properly groomed?

After the dust settles you'll realise that the ONE thing that will make you more valuable to clients is your ability to be available for requests they have. It's a "service" business, slightly more sometimes than an artistic one.

Steven

[legareal]

Hey Steven thanks a lot for your reply.

You make a lot of sense about every studio pining for freelancers, building our own client base is what we have been working on for the past half a year. It is very difficult to get gigs in the first place.

The whole place has been refurbished since it was a music studio. I'd like to think of it as a solid (but small) post studio.

Our sync is rock solid and synchecked to precision. Our main video screen is impressively large (its no dub theatre but the clients love it). As for laybacks, we have everything in place for a deck but would have to hire that in on a project basis.

The biggest concern I have about the place is although it is a great working environment (calming design and aeron chairs), there isn't enough room for a sofa/chairs behind the mixing console.. Which I can imagine doesn't help put it above the bigger, sexier places.

Our equipment list is as follows:

32 Icon D-Control

Mac Pro 8 Core
Pro Tools HD4
3x192
Nanosyncs HD
Sync HD
Digi PRE
Eventide H8000
Cedar DNS2000

DK Meters

Avid Mojo SDI

Second Mac Pro 8 Core
Gallery Virtual VTR
Avid Media Composer
Final Cut Pro

6 foot screen from Sony HD Projector
3 x Cinema Displays


We would obviously invest in an lm100 for tv work aswell.


Here is a poor image of the place so you get a better idea of the sort of thing Im talking about:

[Steven1145]

The photo is indeed a bit blurry but the place does look nice. I would say that it is a real shame you dont have a bit more space for the client. If you have the director sitting with you at the desk it's fine, but bring in the producer(s) VO talent, editor and all and a small studio (even a big one in fact) can get very crowded VERY fast.
If you're planning on hitting on the advertising market you need to keep in mind that you'll not only be dealing with the director, but also the producers, the ad agency and the client of the ad agency. I once had 18 people in our small studio for an ad session... better have good air conditionning and lot's of extra seats handy.
If you dont have space in the actual studio, you need to make a very nice lounge area just outside so that nobody feels left out of the session for lack of space.

Directors and editors also like to have enough room to stack lots of sheets of paper that they keep scribbling on and that will be left on just about every horizontal surface at the end of the session. If they only have the armrest of the desk to use as a scribble-pad, they're likely to be quite unconmfortable on long mix or VO sessions. In that case buy or make a plexiglas stand that you can fit over one side of the mixing desk for them to put things on (people often go to sessions with Macbooks, just to look hip when in fact they dont need it for more than their daily Facebook update).

And once again: service, service, service. It does'nt hurt to have great coffee (think Nespresso) always ready as well as soft drinks (or at least bottled water). You wont get a second chance to make a first impression.

You may have noticed that I have'nt been talking about gear at all. Why is that you say? Because when you're concerned about building up your own userbase, you'll notice after a while that clients dont know sh*t about gear and most of the time dont really care. What they want is a good mix at the end of the day. We've had quite a few people call asking to do "ProTools" sessions, were PT turned out to be just their word for sound editing and mixing. Did they care that we use Nuendo, or Fairlight or even PT? Not at all. But they did care about having their mix ready on time, and sounding good.

[legareal]

Thanks again Steven.

I think we have always taken pride in our service. We always have great Tea or Coffee ready as well as lovely fresh sandwiches/other lunches.

It is a real shame about the space, we have other comfortable rooms to house people but not too much space in the control room. There is actually quite a spacious desk fixed to the wall behind the Icon seating, so that should be fine for stacks of paper/note taking etc..

Of course you are right about equipment, in terms of gathering freelancers though I would assume the majority are more familiar with a PT rig?

Our air conditioning is good but we could definitely do with a a few more spare seats!!

18 people in your studio!? That is terrifying, hopefully advertising gigs don't always get that bad :s

Of course we would simply find a bigger place if we could justify it, we need to find a way to get the ball rolling as is first though.

Thanks a lot for your support and advice, its all very much appreciated.

Elliott

[soundboy]

Originally Posted by legareal

Thanks again Steven.


18 people in your studio!? That is terrifying, hopefully advertising gigs don't always get that bad :s


Elliott

Its even better when they all start directing you at once!
Believe it or not, location is also very important. People in Santa Monica don't want to go to Burbank, and people in Hollywood don't want to go to the west side...

[dr.sound]

Elliot,
Two quick things:
1) Move as much equipment out of the room. It will make your room much quieter and it will look larger.
2) Hire a Freelancer and watch what they do. Ask them what they would like in the room. You may have to indirectly pay to get a track record, that is take on a few jobs that may not make you any money but will get your room some Post experience.
Also Team up with a Video Editing House that doesn't have sound. You two then can bid on packages. Let them buy the video equipment. You don't need it. I don't own any decks and it's never been a problem! If you need one, rent it, charge the client a premium, If over a course of a year you have paid 35% or more in rentel's vs. what a video deck costs then buy one.
Good luck! Post is a great business if you can stay busy!

[ggegan]

Originally Posted by soundboy

Its even better when they all start directing you at once!
Believe it or not, location is also very important. People in Santa Monica don't want to go to Burbank, and people in Hollywood don't want to go to the west side...

That's true. I used to work at a studio that actually offered to pay for a limo pick up a director everyday and take him home because he didn't want to drive from Santa Monica to Hollywood. As it turned out he didn't take us up on the offer but decided to have us mix his show anyway.

The bottom line is that this is a service industry that must cater to people who expect to be pampered. It really helps if the client knows that you will bend over backwards to make their time at your facility as enjoyable and comfortable as possible. That may mean shelling out for their favorite treats, having runners available to take care of their personal needs, giving them a comfortable private space to take care of business, and just generally treating them like demigods. I don't mean just the big names either. Every one who comes through the door, including underlings, should be treated like a mogul. If the profit margin is tight, try to find ways to pamper them that don't require a huge cash outlay.

[RecRoom]

The same, to an certain extent, also goes for your freelancers. As a (now) freelance engineer that used to be a staff engineer at a large, fancy studio in midtown Manhattan, I look for studios that provide those same in a studio that kept clients coming back.

There's no magic formula to getting clients and making a name for yourself. I know I'm still struggling to get and retain clients after quite a few years in the biz. As are most people. To compound the fact that a lot of producers think they can do a final mix in Final Cut Pro with shitty speakers, you have to convince them there is a right way to do things and your studio and expertise is the "right" way.

[neilwilkes]

Originally Posted by ggegan

The bottom line is that this is a service industry that must cater to people who expect to be pampered. It really helps if the client knows that you will bend over backwards to make their time at your facility as enjoyable and comfortable as possible. That may mean shelling out for their favorite treats, having runners available to take care of their personal needs, giving them a comfortable private space to take care of business, and just generally treating them like demigods. I don't mean just the big names either. Every one who comes through the door, including underlings, should be treated like a mogul. If the profit margin is tight, try to find ways to pamper them that don't require a huge cash outlay.

That has to be perhaps the most accurate summary of this business I have ever read!

[legareal]

Wow, thanks everybody for the positive and informative feedback. Looks like I'm going to have a lot to bring to the table at tomorrows meeting!

I think finding a video house to team with is a great idea, and we will have to make a conscious shift towards viewing the business as a service one.

Part of the problem also I think is personal confidence, whilst I (I have a partner also so I cannot speak for him) believe I have bucket loads of talent (you have to right) and am completely fluent in all the technical aspects of the post studio. My lacking experience in the field of audio post can't be ignored, as I said I've worked on a few small bits and I have learned a lot from each of them. And believe me I have researched this endlessly, owning almost every book on the subject. But how can I continue to justify taking someones money and project into my care when I don't believe I have the appropriate experience. Its sort of a catch 22, to gain the experience I need the work, but should I be taking on the work when I question my experience? I understand the usual route is runner/assistant etc.. But I can't afford to leave the studio, not without selling up shop.

I like to think I know the post world very well, but no matter how long you have worked in music, or how creative you are or even how well you know the innards of the studio. Nothing can give you the insight that the experience of multiple projects under your wing can.

This is why we think bringing freelancers in would be an added bonus, to learn from them as well. Is this appropriate?

Any recommendations? lol

Sorry to go into one, I was just going to keep things short but you guys have been so helpful I thought I may as well pick your brains some more!

Thanks again,

Elliott

[emf1138]

Originally Posted by RecRoom

f producers think they can do a final mix in Final Cut Pro with shitty speakers

Ugh.. sad but true.