As an automated lighting programmer, there often are times when more than programming knowledge and experience come into play. Most pro-grammers work as freelancers and must negotiate their rates, contracts and other terms of employment. Other programmers are fortunate enough to work directly for a production company full-time, but even they must negotiate fair compensation. From day rates to travel days and per-diem, there are many things that you must consider before agreeing to take on a gig.
The Rate
I was recently cleaning and sorting through some boxes in my attic when I found an invoice from a programming gig I did in 1993. I charged the LD for six days of programming at a rate of $125.00 a day! Given this was almost fifteen years ago on a Compulite Navigator console, I guess it was a fair rate. Now I charge much more — and rightfully so. I have gained much more experience, and the industry has changed so that more is required of a lighting programmer. In 1993, I was only taking care of a handful of fixtures and some color changers. Now I am programming rigs with hundreds of fixtures, media servers and conventionals.
Every programmer should negotiate a fair rate commensurate with the work he or she will be providing. For example, a programmer with just a bit of experience with local gigs should not expect to make as much as a programmer with 10 years of experience on various productions. If you have been programming for less than five years, don’t expect to get the gigs and pay that programmers who have been working for ten years or more get. Like any profession, you have to rise through the ranks. As the shows get bigger, so too will the responsibilities and the paycheck.
Before negotiating a rate, you should speak with other professionals at your level. This way, you will better understand the market and have a better feel for the going rate. When you are starting out, you might take less money for the opportunity to work on a better quality production, knowing that you are honing your skills on their time.
Special Considerations
When making your deal with a producer or lighting company, there are many things you must consider. First, the rate should be agreed upon for both the amount and the duration. Most programmers will include the first 10 hours in their standard day rate. Any time after that is billed as over-time. If you are working on a touring production, then you might agree to a weekly rate with a discount for the extended period of employment. For example, a weekly rate might be the same as five one-day rates when you know they will hire you for six weeks. Usually, a touring rate will not include any overtime.
If you are working locally, then you don’t need to consider travel days and on-site days off. However, these are important items when you are working away from home. Some clients might try to get travel days for free or at half price. However, I feel that since you can’t work for anyone else during this time, the client should pay your full day rate. While not all clients will be open to this, I have found that most agree. In addition, you need to consider your rate when you travel and work on the same day. For instance, if you leave your house at 7:00 a.m., sit in the airport for two hours, fly for three hours and commute to the venue for 30 minutes, then you have already spent almost eight hours of your day working. If they then expect you to work for another 10 hours, I feel you should be compensated accordingly. This is why I often go into overtime when clients ask me to travel and work on the same day. If you are away from home and there is an on-site day off, this too should be charged as a full day since you can’t work for anyone else on this day. I have worked on many productions where they have paid me to have a day off.
Prepayment
When I am negotiating my deal, I have the client agree to pay me 50% of the rate if they choose to cancel the booking within 30 days of the gig. I feel this is fair because I often turn down other work once I have something booked. If the original production then decides to cancel the show a week before it is scheduled, I do not want to be home with empty pockets. Fortunately, this is an insurance policy that I have not had to use yet.
Many years ago, I was involved in a series of rave-type music festivals. After the first one, I learned that the producers of these events often do not have the cash they need until after the gig. I also learned that once the event is over, it can be like pulling teeth to get them to send a check. Once the show is over, there is nothing you can do to get your money faster. However, you do have some leverage before the show begins. For these cli-ents in particular, I negotiated 50% payment before traveling and the other 50% before doors. The second part turned out to be essential. I remem-ber sitting at the console waiting to get paid while a band was on stage performing in the dark. The event producer finally got the idea, and as soon as he paid, the light show began. This might seem harsh, but drastic measures were required because many others did not get paid for the same event — and probably still haven’t!
The Letter of Agreement
Some programmers require a contract with their clients, and some just trust verbal agreements. I prefer to provide a “letter of agreement” that I cre-ated years ago. It spells out the services I will provide, the payment rate details, the payment terms, travel and per-diem expenses and any other special terms agreed to. Usually, it is a summary of our verbal agreement. I send it to the client and ask them to sign a copy to send back to me. I have never had any trouble with this method, and it works well. However, there have been a few clients who prefer to use their own contract, and I have worked with them to meet their standards for agreement.
Negotiation Made Simple
Negotiating for payment of your services should be fun. Both sides should come away feeling like the deal is fair for all. Using a standard letter of agreement or contract will display a level of professionalism and protect you in the event of a dispute. Although most productions are a joy to work on, and I would gladly do so for little pay, I do need to make a living and, therefore, should be compensated fairly. The same goes for all automated lighting programmers. Take some time to document the negotiations, and I am sure you will have no troubles in this business.
To negotiate an e-mail with the author, send your agreement to brad@theschillerfamily.com.
