Rate chart

A couple of weeks ago I was cruising the forum, and ran across a discussion about how much to charge.  Someone had given a link to a great rate chart for television & film composing, but now I can't find it.  Does anyone know of such a chart anywhere?

 

Thanks

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  • Hi the only public rate chart that I know of for television and film can be found on the musician's union website. They list out everything except composer fees (due to the fact that this fluctuates from project to project and composers are not organized through this nor any other union).
  • Charge more than ORCHESTRATOR scales with the AFM


  • Lisa Smolen said:
    ....and composers rates are tricky because yes, they are not organized through a union, so their rates vary from person to person. You need an agent to negotiate your fees - mostly based on past creative fees on similar projects.

    Actually, I think the rates should vary from person to person. We're not all the same, are we? Why would we assume that the world should pay us that way?
    Rate chart
    A couple of weeks ago I was cruising the forum, and ran across a discussion about how much to charge.  Someone had given a link to a great rate chart…
  • Thanks for the info, everyone.
  • You're right. 'Sorry about that. I'm a little union weary right now. Thanks for the kind advice.


    Lisa Smolen said:
    Les, I'm not sure you actually read my post.


    Les Harper said:


    Lisa Smolen said:
    ....and composers rates are tricky because yes, they are not organized through a union, so their rates vary from person to person. You need an agent to negotiate your fees - mostly based on past creative fees on similar projects.

    Actually, I think the rates should vary from person to person. We're not all the same, are we? Why would we assume that the world should pay us that way?
  • Hey, guys, thanks for the enlightening discussion on unions. I wasn't really trying to open a can. Hope I didn't ruffle any feathers.
  • No problem Les I think this is a great topic.

    Apologies for taking the subject matter more towards unions, but I'd love to hear more reasons why there shouldn't be one. Not many people want to talk about it (understandably so I guess). Lisa- you mentioned that unionizing will take away the ability to negotiate rates but I'm not sure I follow, unless by that you are referring to rates that would be deemed below union minimals.

    That's great that you know a well established composer who performs just enough to keep their health care, but doesn't that sound kinda sad? I mean, what if that situation was the other way around? I don't mean to instigate anything here, I'm just looking to educate myself on this whole situation. Feel free to email me if you'd rather have a closed conversation on it.

    Thanks!
  • A union minimum is just a floor below which you can not fall. And the WGA has deferred pay options for low budget, so you could still work for lower, but wouldn't get ripped off in the end. Composer minimums could allow for that. SAG actors negotiate their own rates as well, and get paid a hell of a lot more than composers. Union scales don't drag down rates. It's a total myth, and the opposite of the truth. Composer rates have fallen steadily since the dissolving of the previous union.
  • I'm not in the business like you guys -- just a guy with a music degree who'd like to do more with it. (. . .and, no, Chris, I don't have Fruity Loops) I also don't live in LA, so, I'm kind of looking at this from the outside.

    If a builder builds the nicest, most expensive homes in a town, does he somehow owe something to other builders who might build cheaper houses? Should he be expected to "sacrifice" a job every now and then so that less qualified or less experienced or less talented can do the job for the same money? He's probably unable to build every house in town, so who should build the rest? If competitor buys nail guns that allow one guy to do the work of twenty, should the builder complain or find a way to compete?

    When someone says the Power Elites are taking all the money, a few questions come to mind.
    Do the PEs have time to score every film out there?
    What do film makers do who can't afford the PEs?
    As a newbie, if I score a film really cheap for a newbie film maker, have we somehow cheated someone somewhere?

    Like I said, I'm an outsider. . .just a few questions, that's all.
  • Amen, sister.

    Have you ever read any Ayn Rand?
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