Most automated lighting programmers work as freelancers meaning that they have to not only program shows, but also are responsible for negotiating the terms of their payment and services. Usually this negotiation is done with the production manager, producer, or lighting company. It is very important for lighting programmers to understand basic negotiation skills and to know when to make changes to their standard agreements.
Know Your Rate
The first thing you must do is know your rate. This may be daily, weekly, or by gig, depending on how and who you work with. No matter the interval, know what you are worth and hold to that rate. If you have little to no experience and you want to charge $1,000 a day, you are over-charging. You should probably check around with other programmers in your skill/experience level to see what is a fair rate in your area. Then negotiate for a rate accordingly.
There are times, though, when you will lose out on gigs because they don’t have the budget to pay your rate. For instance, I was recently in a situation where a production wanted to hire me to program for a holiday show. They were offering a rate that was half of my normal daily rate. Although I really wanted to work on this show, and with the particular designer, I just could not bring myself to work for such a low amount. My time away from home and the possibilities of lost opportunities meant that it would not be worth it for me to work for such a low amount. I counter-offered at my lowest acceptable rate, but they still could not afford me. So I passed on the gig. Two weeks later, I had a phone call for another show that was willing to pay my normal rate for the same time period. While this does not always happen, it can be very important to know and stick to your normal programming rate. It would have been unfortunate to have been working for a half rate and miss out on a full-paying gig.
Flexibility is Important
While it is important to hold to your normal rate, flexibility will go a long ways in negotiations as well. For many years in a row, I was working on a corporate event at a rate that was slightly reduced from my normal daily rate. I agreed to this lower term given that the production schedule guaranteed a large amount of overtime and they were very amenable to my other requests (travel day rate, airline, per-diem). In addition, knowing that I was invited back each year, I was happy to reduce my rate slightly to have the event on my calendar annually. Of course, eventually the production team changed and the gig fell off my calendar, but I always felt that the negotiations for this show were very fair.
When you provide your rate to a production, you need to be prepared for them to ask for a lower amount. Everyone has a budget, and they are often going to try to reduce the programming costs. Sometimes you can be flexible in your rate, or get creative in other ways. For instance, you could ask for fewer on-site days if you think this is possible, or you might reduce your fee for travel days or negotiate different overtime stipulations. There are many ways that you can be flexible and help a client while also being fair to yourself.
Beyond the Rate
While we all work for the almighty dollar, there are other items that must also be negotiated. Many productions take place around the world and require travel to various destinations. Sometimes you can ask that a customer book you onto a specific airline or class of service. Many programmers and designers stipulate that flights over eight hours require business class. While this is a wonderful perk, it could often lead to you losing out on a gig. If the client is concerned about their budget and your rate, perhaps you can offer them a break and fly coach instead of business, but keep your programming rate the same.
Usually, hotels are booked as a group by the production, so there is very little negotiation you can do here. However, I recently was talking with lighting programmer/designer Craig Caserta, and he told me of an interesting clause he has in his agreement. Craig often programs for major television productions that have him away from home for weeks at a time while they shoot an entire season. Whenever he is in one location for more than 14 days, he will ask for an Airbnb home in place of a hotel. This allows Craig to be more comfortable and relaxed, as well as to have his family visit during the production period. At first, Craig’s producers were concerned with the costs, but once he pointed out that the daily cost was less than a hotel, they were happy to accommodate him. This negotiation was a win-win for both programmer and production.
The Cost of Ownership
Some new productions may try to convince you to trade your rate for ownership in the production or a cut of ticket sales. This usually does not work in the favor of the programmer, but can be helpful for some designers. Imagine if you were on the ground floor of a major EDM event such as Electric Daisy Carnival or a new touring concept like Trans-Siberian Orchestra. Not all gigs turn into a massive success, so you must carefully consider these types of offers because they don’t offer immediate cash for your wallet.
Professional Help
I know of many designers and several programmers that work with an agent to secure gigs for them. This service not only lines up work, but also handles all the negotiations for you as well. You just tell your agent what you want for your rate and other items, and they will ensure that you get exactly that (plus a percentage for them too). While an agent is not right for most programmers, it can be extremely useful to boost your career and help out when you find yourself too busy to negotiate the next gig.
Wrap It Up
As you negotiate with your producer or production manager, be sure to put everything in writing. Never agree to terms solely on a handshake or verbal agreement. Some programmers use contracts while others simply create a letter of agreement that details the terms. If someone only wants to verbally agree, you should at least send an email that re-iterates the discussion and receive confirmation of the verbal agreement.
Negotiations come in all forms, and you must be both flexible and rigid when working things out. As with programming, practice and organization are key to a successful negotiation where both parties are happy. Start with your rate and then see what other items you can work with to be amenable to the client’s budget. Being a good negotiator is a skill that is vitally important to all automated lighting programmers. Always listen to your clients carefully, too — I once had an LD tell me that I was charging too little for my skill level!
