Hi Editors:

                I have been approached to edit a low budget US Feature Film. This project is big for us, since I have never edited a US feature film with a $10,000,000.00 budget before. I have always specialized in digi-underground Canadian $10,000.00 features, so this work would represent a step forward in my career and experience. There is 3 to 4 months work involved here. The producer has already indicated the budget is in place, and he has requested a price quote. I also contacted the American Society of Cinema Editors seeking pricing guidance, and will publish any information in this thread they send me (As long as there's nothing confidential). Are there any members of the A.C.E. here on this forum ? I value your input as well.

Much thanx in advance,

Mark J.

I worked on a union film that I *think* had a budget of around 12 million. The editor on that had cut some pretty big stuff, and took a salary cut to work on it, but they were still paid $4K a week. 

jasperfdo:

but they were still paid $4K a week. 

Mark Job

According the the Motion Picture Editors Guild, base starting pay for any film over $8 miliion is $2899 US a week for the editor.  Editors are generally "on call" and don't get overtime.  Starting pay for an assistant is $1708 for a 45 hour week gauranteed plus overtime.

A complete avid system rents for an average of $900 a week for feature films.  Unities with 8TB of storage go for $1000 week.  Each additional 8TB is an extra $1000 a week.

What you can negotiate above those rates is always based on your experience level and what you can bring to the film.  I've worked for an editor who made just over base pay on an independent film one year, and the next year he pulled $25k a week on a film with a budget of $90 million.  In my experience, on films over $8 million, the editor general makes 1% of entire the budget (production, post, above and below the line costs).

Hi gumbaedit:

                    Thank you for the feedback. I appreciate it. 

Mark Job

I've post sup'd a few features in that range, and the 1% guideline is likely where they are starting from, i check a few old budgets from completed features and that's pretty much what the final line item was anyway, no matter the method to get us there.. i've done both, working with a new editor and working with A lister's

They might go for more if the distb or director wants a star "A list" editor.

-or-

They might be budgeted lower if they want to keep a contigency open for bringing in a heavy hitter/fireman to address distb notes at the end

If iwas budgeting this scenairo and i had an editor that had zero experience in this world, i would go with the second budget myself....safest for production, and most fexiabality for the final show.

On a 10m show if you work at the minimum 3K/week and you go 30 weeks you will have used up most of that line item anyway... so i'm thinking they would want to see you target closer to 20 weeks.. again to leave wiggle room should it be needed... it always is....

Avid's / unity / assist - are all on seprate line items, some editors own their own gear, some producer's own their own gear, some post sups own their own gear.. sometimes all three do... usulay the producer gets to use (and amort) their gear & everyone else's gear sits in box's....

d

Is it a union film? I am about to edit a $10M feature myself, and it is a DGA deal for the director. His contract says he has 20 weeks with the film to deliver his cut (he also has final cut). That does not include the time I am editing during production leading up to his 20 weeks. I will need to join the union to be the editor.

If it is not a union film, these are guidelines and anything can be negotiated. Higher rates go to "star" editors who have developed their craft over many years or have a reputation to bring that "something" to the story.

Michael

Wow, he get's 20 weeks, standard DGA deal minimum for that size was 10, last I checked.  Hat's off to him for getting that and final cut on the picture.

In my experience, yes, the post super and producers always have a number in mind going into the post budgeting.  I've even worked with a heavy hitter who did the picture for so low of a rate that he had a "no rate disclosure" clause in his deal.  We couldn't even say that he had a no rate disclosure clause.  That's how big of a cut he took.  However, I agree with Dermot, if I was in the post Super job, and the editor had definite talent, but no feature experience to prove that talent could stand up under feature conditions, I'd set the rate closer to basic scale.

     Also keep in mind that "union scale" is just the rate of reference, even if it isn't a union picture.  If they come up to you with a lower number, you can hold it up as the standard.  As for the rental numbers I posted earlier, those are pretty much standard from every post house I've ever dealt with.  When you pay a rental house, what you're really paying for is insurance that if equipment fails, a new piece of gear get's fedexed to you that very same day.

Good luck.

Hi Editors:

                   I quoted 3.5K$ US a week for a 3 month period with 33.3 % deposit up front (Non-refundable). This is how I've done all my Canadian low budget feature work.

Mark Job

P.S. Not at this rate however.

Good luck with the project, see you at Cannes! 

Michael

Hey Michael - haven't seen your posts in awhile...remember, I'm going to thank you if I ever get an Oscar for all the help you gave me when first starting. =)

I've been gone on some other work that required FCP and haven't cut in Avid for a long time. Man...I've been in the dark side.

Hope to get MC while the promo is still going. Just tight on cash. Have fun at Cannes.

Well thanks! There should be an Oscar just for editing, day in, day out and making a living at it!

Email me at michael(dot)phillips(at)avid(dot)com

And I can get you conact info for my rolodex.

Michael

Laptopeditor:

Hi Editors:

                   I quoted 3.5K$ US a week for a 3 month period with 33.3 % deposit up front (Non-refundable).

Hello Mark,

I am curious to know how things have gone with your tender.
Hopefully you were successful and are now too busy to reply.

Regards,
Douglas

PS. I am sure that I am not the only one who is wondering how things are progressing.

drbgaijin:

Hello Mark,

I am curious to know how things have gone with your tender.
Hopefully you were successful and are now too busy to reply.

Regards,
Douglas

PS. I am sure that I am not the only one who is wondering how things are progressing.

 

                               Indeed. Here's an update. Actually, the producer to whom I made the quote, along with my Agent (My agent doesn't represent me as an editor, rather as a screen writer - Got me this gig). (A good agent is worth their weight in Gold !) told me my bid was good, and surprisingly low, thus they upped my bid from $42K to $58K US Dollars, because that's what they have budgeted. I have a 90 % chance at this point of getting the job pending the final 25 % they needed to fully capitolize the production (Which they now have raised !). I will know soon as they need to set the starting date for principal photography. I have stipulated delivery in DNxHD 36 on external USB 2.0 HDD's (Which are plenty fast enough for 36 Mbps data rate). I also have spoken with the sound editor on the production. The sound editor is using full Pro Tools, so all should be well. Editing a feature film is a little more straightforward, because you don't have to finish the production with title graphics, visual effects, or post and master the audio. Just cut picture and dialogue (Straight cuts), send the picture off to the sound editor in quarters each month. Receive wire transfer. Have a nice day. I'll post a confirmation as soon as I know. I should know within less than 2 weeks.

Mark J.

Sounds good, Mark.

I will be keeping my fingers crossed, and for good measure I will also "hold my thumbs" That's the Swedish equivalent.

Regards,
Douglas