The Production Team
Lesson 20 from: FAST CLASS: Business of Commercial Food PhotographyAndrew Scrivani
The Production Team
Lesson 20 from: FAST CLASS: Business of Commercial Food PhotographyAndrew Scrivani
Lessons
Class Introduction
05:06 2How To Get Work As A Food Photographer
02:54 3Understanding Your Skill Level and Your Market
03:20 4How To Grow Your Business
01:28 5Opportunities In Commercial Food Photography
08:17 6How Do You Market Yourself
08:23 7The Importance of Attitude and Communication
03:30 8Understanding Insurance Responsibilities and Liability
05:38Understanding Taxes and Accounting
03:11 10The Importance of Representation and How To Get It
09:59 11File Management and Protection
02:40 12Understanding Stock Photography as a Business
04:59 13Contracts: The Law and Your Rights
03:18 14Negotiating with Clients: 10 Questions you Need to Ask–Part 1
06:57 15Negotiating with Clients: 10 Questions you Need to Ask–Part 2
05:16 16Negotiating and Talking Money with Clients
02:31 17Who are the Players in Commercial Food Photography
09:43 18How to Manage Client Expectations
02:38 19How to Assemble a Team
04:11 20The Production Team
04:48 21On Set Support
04:51 22Editors and Post Production
02:47 23What Expenses are Associated with a Shoot
04:01 24What is Usage?
05:35 25How to Anticipate Expenses
02:56 26Calculating Price Based on Rates, Usage and Expenses
03:35 27Where do You Go Next?
03:17 28Continuing Education and Research
06:28 29How to Get your Work Out There and Get Noticed
02:47 30Treatments and Final Wrap-Up
06:23Lesson Info
The Production Team
Let's talk about everybody's individual roles. So these are broken down into. I break them down into three different teams. So our first team sort of is the production pre production team. So these these are the people that we are kind of collaborating around to set the creative and react to the client's needs. So we might have all of these people at the table on the call when we're meeting with the client, because all of these people have to understand that what their compatriots on the other side are thinking and what they need. So the producer, the producer, is the person, his your point person on everything, right? So that person is communicating with the production team from the client side, or possibly with the client themselves organizing the shoot. And then again, an art director is somebody that's helping you personally set your creative tones. And if your company is big enough, you might have that person collaborating on multiple projects. So having that person there, um, hel...
ps you guide your style and helps keep you on track. So the food stylist obviously is somebody who is going to be hand picked for a project So if it's you have something that's specific about baking, you may hire somebody who has lots of experience in there. All of these people, if they're not connected to a production company that you either own or work for, they are most likely freelancers or have their own companies, and and you are collaborating with those people. Now, if you get on opportunity to get make a bid on a job, the first thing you're going to do is ask your producer, reach out to an art, not an art director, but reach out to a food style is reach out to a prop stylist and book me a studio. And we could. From there we do. What we do is we put people on hold. But then there might be a situation where and this is the more common when you're trying to get a job for the first time, where you're doing something called a triple bid, where you're bidding against two other people and it's blind, you don't know the other people now in motion. You might know the other directors you're bidding against, but in print, you hardly ever know who you're bidding against. So not only you playing a shell game with numbers because you're trying to make sure that your bid is competitive, not too low, not too high. But you also bidding are against people for creative because they're picking other people that you don't know how they're going to interpret the creative. So once that those bids go out, you still have to put. Once you're in the bidding process, you have to put crew on hold. So so many times in this world you put people on hold, and then either you don't get the job or doesn't or doesn't book at all. Like sometimes job just goes away. So the absolute idea of coordination in all of these things is essential to the success of the job. And this goes back to the whole idea of collaboration and teamwork is that if you're not communicating with your producer and your producers not communicating with the agency or all of the studio's that you're dealing with or having and then all the other Complicate see, this is just even part of the producer has such a, um, multilayered job. Now I understand that the majority of people are not there yet who are watching things like continuing education. I get that because even for me, that progression took a very long time. But you never know. And just like the story I told you yesterday where you have somebody who has the creative ability to make the shot, but they don't have the infrastructure around them. If you tomorrow get offered a job to do something on this scale because they like your creative at the very least, now you're aware that boy, I got a lot of work to do. These two people on the on the end here, the prop stylist in the food stylists are essential to pretty much any food shoot on any level. And even if that person is just another set of hands executing your wishes, where you have a vision and you're able to communicate that to somebody, that's essentially the relationship anyway. So I've said this before and all the classes. I think it's really important that if you are photographer and you don't have a lot of food skill, but you love food photography, you should partner with somebody who does, or if you don't have a large collection of props then connect with people who do and then maybe form partnerships and start working as teams because then all of a sudden you as a team can start to promote yourselves as a package.