Didn’t I just say recently that topics, threads, forums, and articles about VO rates never go out of style? See Rates Rebound of September 19th, 2012.
Yesterday, one of our colleagues noticed the article, too, and sent in a call for help.
Without mentioning the name of the person who posted the comment/question, or the person who is facing the rates issue, I’m turning over this real-world quandary to all of you for a crowdsourced answer. This person’s conundrum has several classic twists, turns, and challenges. We’ll all learn a little.
Have at it! Let’s figure this out, and help a friend!
CourVO
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Unfortunately, I’m really in a bind here, trying to offer advice to one of my actors who’s picked up a gig doing news reading for a third-party distribution service catering to the blind market. It’s an intensive deal, too: every morning, every week; the news has to be from that morning – hence the commitment.
I can’t seem to find anything on assisting him with rates, though. This is his first gig of its kind, though he’s been a member of SAG for 15 years (background and stand-in work on major network shows and films.)
His voice is, in a word, exceptional. Unique. It has a natural gravitas which commands your attention. (Why do you think I love working with him? Besides him being a great guy and a serious professional in everything he does, that is.) So, I’d hate to encourage him to not bust out immediately with the SAG rate (it’s … pretty high) since he’s leery of it being shot down. He’s just a natural, rare talent. This is no doubt a job in which he could excel – along with many others.
But where to start?
Also, this is clearly a long-form project. He’s to deliver all audio self-produced and in finished form online immediately following recording. I can’t imagine how he couldn’t tack on a bit more for that, right? Most of the rates I see are for per-minute, short-form, one-offs. This is an intensive commitment for an indefinite period of time.
What should I advise?
