A Sound Bid
Gamasutra
January 8, 1999
Vol. 3: Issue 1
| A SOUND BID |
Introduction
Questions to Ask Before Bidding
Advice for Game Developers Seeking Audio Help
How An Audio Quote Is Calculated
Contract Payment Options |
- Salary or hourly wage. By far the easiest scenario involves bringing a sound artist in as part of the development team and pay either a salary or hourly wage as consistent work is produced. This method avoids squabbling or haggling whether or not there are big changes to the game. It also gives the sound artist a sense of project ownership. This situation is best for larger or well-funded developers but totally unrealistic if no development money is available.
- Payment according to milestones. Given a hard list of required audio content, set milestones and pay upon their completion. The downside is this method forces the client to plan ahead and have exact audio specifications nailed down. The upside is that it motivates the sound artist to meet these goals. (I'm always more focused when I have a deadline to work towards.) Milestones can be set up in practically limitless ways, from a simple "50% payment up front plus the rest upon completion", to a complicated arrangement involving dozens of project steps and corresponding payments along the way.
- A bonus up front combined with a barter arrangement and small royalties. This option has endless possibilities. By starting with a small "good faith" payment, the client shows commitment to the project and to the sound artist. Because cash may be a problem for some clients, barter arrangements of some type are workable depending on each other's needs and offerings. Trades of computer equipment, or services such as website hosting, website design, graphic design (e.g., for a company logo), and so on can be practical in barter situations. Royalty payments on the backside would round out the final payment for services. This option is great for cash-starved game developers and for the sound artist who is part-time or has other incoming contract payments.
- Straight royalties. By foregoing payment during the development process, the sound artist should be entitled to a larger portion on the backside. While this is the best-case scenario for a developer, the sound creator assumes a heavy financial risk and it can turn out very poorly for him/her. To compensate for this risk, a generous royalty schedule should be established to pay the content provider once the game is released. Newer composers and sound designers may accept this option as a way to establish themselves, and then move to more cash-up-front deals as they land other jobs. Wise sound artists will if the game has hit potential.
- Variations of the above options. Be creative!
Is that all?
Once the bids are submitted for a project, keep open the lines of communication between client and contractor. We sound artists appreciate it when game developers inform us about changes to the game between the time bids have been submitted and a contractor is chosen (we might be able to re-bid the project quickly and save you some money).
When you can't decide between two bids, talk to both contractors. I bet that your gut feeling will tell you whom to select for the job. After all, both of you will be working closely together and you should be able to communicate ideas and get along during that process. Make that phone call.
The bid is, without a doubt, my least favorite part of the game development process, but it's inevitable. Knowing and sharing the ingredients of a sound bid (dual meanings intended) will make this experience all the more sweet, set the mood for the project, and establish a cohesive team.
A chance meeting with a jingle writer and score composer pointed Aaron Marks' overgrown hobby toward a new direction, On Your Mark Music Productions. Running full steam into the local TV and radio commercial market he detoured into the gaming business and hasn't looked back since. Software titles from A&B Entertainment, Silver Creek Entertainment and Enemy Technology, online gaming with Virtual Vegas and Bali Casinos, multimedia projects for The Wall Street Coffee Company, Top Gun Entertainment and Capoot Racing have all been keeping him busily creating music and sound. Aaron can be reached via email at abmajor@aol.com or you can stop by his website http://members.aol.com/abmajor.
