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Competitive pricing for a chroma-key

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Jack Steiner
Competitive pricing for a chroma-key
on Mar 28, 2017 at 11:36:54 pm

I'm opening a chroma-key studio very soon in Europe.. Chroma-key studio will be 1000 square meters with a length of 20 feet and a professional high-end lighting setup, two make-up rooms and extra props.

What is an acceptable day-rate (9 hours) to use? How much do most studios charge for this type of studio and what is considered an 'attractive' price?


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Jack Steiner
Re: Competitive pricing for a chroma-key
on Mar 30, 2017 at 1:13:57 am

anyone??? please?


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Todd Terry
Re: Competitive pricing for a chroma-key
on Mar 30, 2017 at 2:30:12 am

Jack, sorry but you're not getting any answers because you are asking a fairly unanswerable question... and a very generic one. Saying you're opening a studio "in Europe" is pretty generic. We're talking 50 different countries there over several million square miles. No doubt the day rate for stage space in downtown London is going to many multiples of the rate of similar space in some small city in Latvia... if such space exists.

We also know nothing about your space other than your description of "high end lighting." And honestly I do not wish to sound like a jerk, but just two weeks ago you had a post with a photo of a studio asking "what kind of lights are these?" There's no crime in not knowing (and education is never a waste), but you seem to be starting your lighting education pretty much from scratch (again, nothing wrong with that... we all started somewhere), but that doesn't give us much of an indication of what you might be including or thinking is "high end."

Also, most stage space is rented dry... just the space, no instruments, camera support equipment, grip gak, or anything else included in the day rate. Fully equipped operations will have arsenals of this gear available à la carte, but that's generally in addition to the day rates for the space.

And lastly, most of us are probably trying to wrap our heads around the idea of someone opening a studio for rental, without apparently knowing too much about the business (even how much to charge) first, or doing even the most basic research about the area's markets and rates.

A good first start would be to simply hit Google and find the dozen or so comparable facilities in your area of the world and simply looking at what their day rates are. Or if they aren't posted, pick up the phone and call them. No one is going to not tell a caller their rate. Shouldn't take more than a half hour, tops.

T2

__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com



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Bob Cole
Re: Competitive pricing for a chroma-key
on Mar 30, 2017 at 2:29:28 am

I have no idea, Jack, what studio rates in Europe run. I don't even know whether the 9-hour day is common in Europe.

But here are some thoughts:

1. I'm sure you've thought of this, but I'm sure studio rates are available online. This research would also help you with some qualitative issues, below.
2. You mention two make-up rooms; I'd prefer one room and one internet-friendly conference room/office space. Clients and interviewees who are waiting their turn love to have a place in which to keep working.
3. I only rent a studio when I need a much larger space. 20' length seems a little bit small for a studio, especially with chroma key.

Good luck!

Bob C


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Jack Steiner
Re: Competitive pricing for a chroma-key
on Mar 30, 2017 at 4:08:29 am

Sorry Bob, I meant 20 ft in height...
and yes, it's true that I am not a pro but as I've mentioned in my previous post I will work with the finest gaffers and technicians.
Let me ask my question in a simple way: what do you think is a good price for dry-hiring a chroma key studio of 1000 sq feet with the necessary lighting and a height of around 20 - 30 ft. incl. make-up facilities and wi-fi.

and location is not always the key to a higher price-range. I know a studio in London that is charging less than a studio in Madrid or LA...


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Todd Terry
Re: Competitive pricing for a chroma-key
on Mar 30, 2017 at 4:26:03 am

This is getting very confusing... you're now saying 1000 square feet? Your initial post specs were more than ten times that big.

There's just a zillion things that go into stage specs, and thus the rates... and not just the size. How high is the grid? What is the power availability? Parking? Proximity to major thoroughfares? Airports? Silent HVAC? Sprung floor? Kitchen? Elephant doors or roll up? Loading dock? How far is the nearest camera rental house? Can you drive a vehicle on stage? There's probably a list of a hundred things like that. Little things like Wi-Fi aren't even on the list, they'd be expected at any facility.

And again, we don't even know where you are, so we have no idea of the market... or existing supply, or demand.

You might get a guess from someone in here (although I doubt it)... but if you do, it will be a completely uneducated wild guess, so take it with a grain of salt.

I'm not trying to be difficult (I'm honestly trying to be helpful)... but I don't think this forum is going to be your best source for what you need, based on the information you're able to give. We'd simply have no idea.

T2

__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com



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Jack Steiner
Re: Competitive pricing for a chroma-key
on Mar 30, 2017 at 3:52:03 pm

Thank you Todd for this info. What's the best material to use to carry a car? Are there alternatives for a concrete floor?
Why is a HVAC important? I know it is used for noise reduction of fans but do we need fans in the studio?

thank you for everything and God bless you !


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Jack Steiner
Re: Competitive pricing for a chroma-key
on Mar 30, 2017 at 3:52:53 pm

Also, what structure should we use to improve acoustics and get rid of the "reverb" ?


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Todd Terry
Re: Competitive pricing for a chroma-key
on Mar 30, 2017 at 4:28:42 pm

[Jack Steiner] "Why is a HVAC important?"

High-end studios will have HVAC systems that run completely silently. You obviously don't want the heating or air conditioning making any noise. Sadly we do NOT have a silent system here, and actually have to turn the HVAC off in the studio unless shooting MOS. It's usually not too big an issue except in the dead heat of summer, sometimes we'll have to take breaks to turn it back on and cool things down. It's less of an issue now that we us almost all LED or flo lights, but in a rental facility you'd expect not to have to do that.

[Jack Steiner] "Are there alternatives for a concrete floor??"

Most stage floors you'll see will have a smooth concrete deck, either polished bare concrete, or with some kind of smooth epoxy coating. I'd say gray is the most common color. Sometimes you'll see "sprung" floors, that are literally suspended on springs to take care of external vibrations. There's some really nice stage space not far from us that has one of these floors because the studio is right next to some railroad tracks. They're not necessary most places (and would be many tens of thousands of dollars, if not more), so I wouldn't worry about that.

[Jack Steiner] "what structure should we use to improve acoustics and get rid of the "reverb" ?"

That's a question for an acoustical designer. All stages are going to have either insulated walls or textile cycs around the perimeter (or both), but there's a lot of other things that can be done to deaden the space... it's usually baffles and things up in the grid, a fair bit outside my expertise. Remember that hard reflective surfaces as well as parallel surfaces are a deadly thing for sound, so stages are often built with the walls purposely "out of square" and with ceilings that are canted a little bit. It's all a really tough thing... and I've seen (or rather, heard) it done both very well and very poorly.

T2

__________________________________
Todd Terry
Creative Director
Fantastic Plastic Entertainment, Inc.
fantasticplastic.com



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Mark Suszko
Re: Competitive pricing for a chroma-key
on Apr 3, 2017 at 3:38:52 pm

I detect an underlying assumption that owning a greenscreen studio space is an automatic money machine as in, "build it, and they will come".

There is no logical reason to believe such a thing will happen, just because you have a space. You'll still have to market it, and find ways to generate revenue to pay the monthly upkeep and utilities and mortgage. A greenscreen shoot might only take a half-day to a day. What pays the bills the other 28 days a month? Raves and resale markets? Car storage?

Location scouts and directors/producers can be quite fickle as to where they want to work, and, they have numerous logistical concerns that dovetail into their decision-making process. Ideally, what you want to do is locate the facility near some other existing production companies, ones who are doing series TV, so that you have a consortium of nearby customers for several years/seasons at a time.


Based on the kind of questions you're asking, you're not IMO ready to go forward with this idea yet. You have a lot more research and planning to do first.


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Richard Herd
Re: Competitive pricing for a chroma-key
on Apr 4, 2017 at 6:16:57 pm

[Todd Terry] "[Jack Steiner] "what structure should we use to improve acoustics and get rid of the "reverb" ?""

In a perfect sound stage environment for recording audio (very niche here) there are no parallel surfaces, so, since we walk on the ground, the ceiling is tilted, and other "rooms" along the edges are crafted as isolation booths (in non-cube shapes also). These iso-booths are used for vocals, drums, guitar amps, etc.


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Tom Sefton
Re: Competitive pricing for a chroma-key
on Apr 3, 2017 at 7:53:34 pm

Whereabouts?

I've paid £1200 per day for a great studio in London and less than £400 for a studio in Leeds.

Location is pretty important...

Co-owner at Pollen Studio
http://www.pollenstudio.co.uk


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Chuck Johnson
Re: Competitive pricing for a chroma-key
on Apr 16, 2017 at 3:20:15 am

Hi Jack,

Just thought I would add my .02 pence worth to this discussion.

Before one prices for the market, one must know what the fixed expenses are for the facility to see if an endeavor like the one you propose is even economically feasible.

I mean this is a for-profit business right?

Do you have a business plan and marketing plan in place?

Regards,

Chuck Johnson
Big Bad Wolf Creative Group
Fort Worth, Texas


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