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POLICIES + Procedures
DIGITAL PAMPHLET

 

Contents:

I. Introduction
II. Contracts
III. Production
IV. Exports
V. Payment

I. Introduction

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Welcome! If you've received this link that means you are considering hiring Royal Misfit Studios to handle your production and video needs. OR we've already been hired; in which case: AWESOME! We've put together this digital pamphlet, so to speak, in order for you, the client, to have something to reference as a guide along your journey from the start of your project to the very end. We hope that it answers questions, quells concerns, clarifies any misconceptions, and clears up any confusion in regards to the production or relationship.

We also wanted to take a moment to thank you for your consideration. We know there are a lot of production companies out there which you could have gone to, and we know that there are countless more videographers with fancy cameras vying for your attention. Whether you are considering us because of our unique vision, our consistent quality, or our efficient/honest way of doing business, we are glad to be in the running. Whether you heard about us from a friend, the googles, or having seen one of our videos on your mom's facebook page, we are glad to have heard about you as well. Thank you for giving us an opportunity to collaborate with you and to create something new.

It is our hope to provide for you a product born out of passion and excitement not only for what we do, but for whatever it is YOU do as well. Coming to us shows that you believe in our brand, and we strive to return the same courtesy because we don't want to take that belief for granted. All-in-all, it's our customers and clients that allow us to do what we love, and we are grateful for each and every one of them. We strive to put as much of ourselves into each project so that your brand becomes our brand, and vice-versa.

Content creation and digital media is an ever changing landscape, but we take that challenge on with pride knowing that we're going to give 100% to whatever we do regardless of the project. It is our goal never to remain static, or to become habitual with our work, because the creative process is the most exciting thing to tap into in this day and age.

Royal Misfit Studios was founded by Mattias Marasigan, and editor and actor living in Austin, TX who within a year took his freelancing industry from a one man show to a full blown company with a team of professionals. It is his work ethic and constant improvement that garnered the attention of many of his peers, and he still brings that same creative energy and quality to each and every project Royal Misfit Studios takes on.

We are excited to be working together, either now or hopefully very soon, and we cannot wait to get to creating something special with you.

II. Contract

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By now you have received a contract from Royal Misfit Studios. This is an important document, outlining expectations for the studio and the client, as well as housing important details about deliverables, budget, and conditions for re-scheduling. Please read this document carefully as a lot of time has been put into the preparation of each contract to make sure there is no confusion. Here we'll go over each page of the contract you received to clear up any confusion and elaborate on certain details.

PROJECT SUMMARY

This page clearly specifies who the client and production company are and outlines the relationship between the two. It also specifies the expectations for each party through each stage of production. Most of this is self-explanatory. Please read this page carefully and be sure to ask questions if there is anything that needs clarification. We try to be as specific as possible and as fair when it comes to the job description on both side, but let us know if there's something missing or disagreement that we can further specify.

A NOTE ABOUT REVISIONS: Your revision numbers are outlined on this page. DO NOT OVERLOOK THIS. We often don't give out many rounds of notes, because every new round of revisions deserves a proper consideration for time and cost in the editing room. Every project gets one round of notes for free. Regardless of number of revisions, it's important to think about those revisions and notes carefully before sending them, as we don't want to start working on revisions only to get more notes later that might disrupt the current process. So when we say "One Round" that means NOTES MUST BE SENT ALL AT ONCE. Because of our work load, we also give a deadline of one week (7 days) for each round of notes. We WILL close a project if this deadline is not met, or if communication has not been made in attempt to extend the deadline, which may be given on a case-by-case basis.

BUDGET BREAKDOWN

Everyone's favorite part of the contract, because everyone wants to know how much they are going to spend. This is where we attempt to be as transparent as possible. Most production companies will give you a large number that doesn't breakdown job specifics and often include hidden fees; whereas we break down every step of production including all our fees and what each person is getting paid. It's important to note that Royal Misfit Studios does not make a profit from our projects. All money IN goes directly to those involved, outlined in the budget breakdown. We do not gain a percentage or make backend negotiations with our crew members so we can pocket the rest. Everything is outlined specifically to make the process painless and simple.

PREPRODUCTION: If it makes things easy, you can also consider this as the cost of doing business with the production company. Most clients will believe they have all pre-production covered when they come to us with an idea or a need, but each project deserves its due for planning. Rates here are not determined by amount of work, but by how many people are going to be splitting duties. Remember that preproduction always takes more work than people assume.

DAY RATES: Calculated by number of days required for each production. More days of shooting means more savings for you. While we use industry standards (Film + Television) as a starting point, we also try to keep our costs inclusive and affordable with consideration that YOU ARE NOT THE INDUSTRY. Regardless, it's about providing each person a fair wage and the ability to pay their bills; which we are very much an advocate of.

PER DIEM: Also considered as travel fees for anything that is not a local Austin, TX production. If driving we consider milage and current gas prices. If out-of-state we also consider hotel rates and fees for meals outside of the shooting schedule.

EQUAL PAY: We do not discriminate by race, gender, job description, or level of experience. We believe that equal pay on set means equal investment in the project. This also means that our rates won't change on you based on who we hire.

POST PRODUCTION: Rates are determined by project first, then by number of final deliverables. We've taken careful consideration of the amount of time post production takes. Each project is different, and amount of footage does not always equally scale to amount of work needed in the editing room. Furthermore, whether it's a 30 second video or a 10 minute video holds no bearing on difficulty or turnaround, so is not reflected in the price.

COST ACTUAL vs COST ESTIMATED: We split our budget breakdown into two boxes. Cast actual is represented by Box 1 (one), and is the price in which our payment plan percentages, discounts, and invoices are based off of. Box 2 (two) represents estimated costs. These are budgets for different departments including art and camera, and also include special considerations for venue rentals, meals, and even talent rates. Whereas we can give an estimate, that does not mean these prices are set in stone, and are more of a representation for your consideration in budgeting for the project as a whole. Box Two prices may change (up-or-down) based on a variety of circumstances. For this reason we do not take this money up front, and allow the client to pay for these as they arise, as the company sees fit.

DISCOUNTS/WAIVERS: Applied to Cost Actual (Box 1) amount. Please note, because our budget is considered so carefully, any discounts or waivers come out of the producers/director's pocket, as we choose to pay our collaborators/crew the amount specified regardless of our negotiations with the client.

PAYMENT PLAN: Please see more details about this outlined in the section below.

INVOICE

An example invoice only. This represents the "Cost Actual" amount from the production budget. This also outlines where to make payments and who to make checks out to, if applicable.

TERMS OF AGREEMENT

Most of these are self-explanatory, but please address any questions or elements you feel are missing. Please pay close attention to postponement/cancellation fees and emergency contingencies before signing.

CONTRACT EXPIRATION DATE: Important to secure the quote, budget, discounts, waivers, and shoot dates for the project. Failure to sign by the expiration date may result in a re-examination of the project budget and the loss of any discounts previously considered. Please keep in mind that this is done to keep our business moving forward, as we cannot book you or begin work until contracts are signed, and we do have other clients that may require are services who we must also consider. Deposits are also due by this expiration date.

SIGNING: Signing can be done digitally or in person. Please make arrangements with our client liaison based on your preferences, before the expiration date.

ADDENDUM PAGE

We try to keep the language and terms in our contracts the same throughout the rest of the contract. Any diversion from those terms, on a project-by-project basis, or anything negotiated after the original signing of the contract, including postponement, cancellations, extensions, product quantity, rates, payment changes, etc. will be noted here, dated, and initialed by a member of the production company and the client.

III. Production

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Production, as you may have gathered, is actually broken up into three different sections: Pre-Production, Production (also "shooting"), and Post-Production. This section will outline the specifics that go into each stage of production for your clarification.

PRE-PRODUCTION

One of the most overlooked parts of any project. This is the stage that arguably packs the most workload in the shortest amount of time. Scheduling, emails, phone calls, scripting, shot-listing, preparing documents, hiring crew, renting equipment, corroborating details, etc. All these can take days or weeks, depending on the project needs, and the success of the projects sometimes depend on the amount of time given towards this step. While the client is not expected to handle all of the duties for pre-production, they may be consulted as to their wants and needs in regards to the creative scripting, but also might need to help when it comes to coordinating locations or personnel. Everything else will be handled by the production company as necessary for the project. Communication is key in this step for this stage, and we adhere the old adage "get it in writing" when it comes to said communication, so always expect an email after every phone call just to clarify everything.

PRODUCTION or SHOOTING

Call times will be agreed upon in the pre-production stage, and for large productions call sheets will be sent out a day before shoot dates. The schedule, where utilized, is very important to adhere to. Productions always run into issues throughout the shooting day, meaning the day always has the possibility to run long, so we keep this in mind while creating the schedule during pre-production. Any changes to this schedule needs to be considered carefully, and the production company is not responsible for not completing everything on the schedule as the result of last minute changes. The production may consider going overtime, which is never our intention, but in some cases we may need to reschedule. We try our best to manage expectations, but things will always be different once we arrive on set, regardless we respectfully ask for your trust during this stage.

Though clients are not always needed on set, your presence is always welcome! Though you may not be on set during shoot dates, it's important to be on call just in case emergencies or important questions come up. So keep that phone on.

SET ETIQUETTE: All of our crew members are professionals who have been on multiple industry sets, be it film, television, or otherwise, and therefore enter with standards that might be different from what our clients are used to. It's important to note that they are independent contractors working for Royal Misfit Studios, so all delegation or concerns for these contractors must go through the director on set. Please do not touch any equipment belonging to the production company or our individual contractors. 

POST PRODUCTION

This stage of production is where we figure out if all our hard work has paid off. This company was started by an editor first, and this stage, therefore, falls under the hardest scrutiny and has the most established standards over anything else. Post production is where the magic happens, but they say that a film is made three times: Once when it's written, once when it's shot, and the last time when it's edited. Others have said, "A film is never finished. It's simply released." Editing is an artform that includes many artists including sound engineers and colorists. For some projects direction is not always easy to find, even after everything has been shot, and an editor must analyze the footage very carefully, while considering the brand, and make some very bold decisions. This can be the most difficult and nerve-racking process as this is normally when we go into a cave with no communication until someone finally emerges. When they do, we hope that they bring with them a treasure from the beast that was slain.

DEADLINES: We don't set hard deadlines for any of our productions. We allot 4-8 weeks of post production for each project, but in same cases it may take longer. For projects which require a hard deadline we will adjust our rates accordingly and charge an appropriate priority fee.

VERSION ONE: Aka V1. We don't work with rough cuts or assembly cuts. These are done internally in order to find a direction of the piece between the editor and the creative director of Royal Misfit Studios. By the time the client receives any version of the product it is our hope that it is closest to the final product as we can make it. Sometimes this will also include graphics or color correction, but in other cases the notes will help determine these steps. We will always note if certain elements are missing until we finally get a picture lock.

REVISIONS: We tackle revisions three different times in this packet. In this section we want to clarify what counts as a revision. A lot of times - when we get notes back from clients - it will simply be a list of changes that they want with expectations that everything on that list be implemented. (ie: Delete this, add some clips here, make this section shorter, etc. etc.) Unfortunately, that's not how editing works, at least not in our case. Any change to a video often has a chain reaction - affecting the rest of the video as a whole. Not to mention that sometimes footage they want might not exist, or there's another factor affecting the edit that they aren't aware of. We find it best if you approach your notes by expressing the issues or the problems that you might have - or the audience might have - so that we can address those issues accordingly. (ie: We think this section might move too fast, OR we'd really like to express more of our fun side! OR can we see more of Tom?) It's possible we might be able to find solutions that you won't be able to think of; more often we find a simpler fix than what's suggested, but that comes with understanding the concerns first.

Further Advice:

  1. Ask questions and express concerns rather than suggesting specific changes.
  2. Please consider the direction, as changing this (including the music) will result in a whole new video; which we reserve the right to refuse. In cases where proper consideration has been given, we may come to an agreement, but there may still be a fee for re-changing a direction of a video as we start over with a blank canvas.
  3. We are professionals, so a lot of times we know how videos will be received and, in some cases, a clients concerns may be slightly over-analyzed. We always suggest showing videos - even a draft - to a third party who is not connected to either the production company nor the brand. Without prompting, ask them questions. What they get out of the video? What's being communicated? AND How does it make them feel? If multiple people are raising the same concerns, then we definitely need to fix something.
  4. If there is confusion, ask questions first, before providing notes, so you can receive any clarity needed to formulate your thoughts.
  5. Use timecodes when referencing specific moments in the video.
  6. We will always attempt to fix mistakes if we interpret notes or revisions wrong, but more revisions, along with those corrections, will not be accepted. Unless it has already been mentioned before, we will be unable to make any changes after the fact.

DISCLAIMER: Satisfaction is not guaranteed with our projects. We become invested in each and every project we take on, and these products mean just as much to us as it does to you, and sometimes more. We believe that our clients hire us for our vision just as much as they want to execute their own, and as artists we are always attempting to challenge ourselves, try new things, and create a product that we can also find satisfaction. We take pride in the work we do, and in cases where we we have creative disagreements, we may suggest taking the footage and going to someone else if we believe the relationship is no longer going to work.

IV. Exports + Deliverables

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Congratulations! You're receiving your final product.

When delivering the final videos to the client we try to be as thorough as possible. The landscape for video delivery has changed rapidly over the past 15 years. From DVDs to Blu-Rays. From thumb-drives to hard-drives. From Youtube to Facebook to Instagram. No one knows what the future holds for video, and it's become increasingly clear, in our experience, that what's relevant today might be outdated tomorrow. Our editors try to keep up-to-date on the trends of exports, codecs, and platforms that are universally accepted while still retaining the quality and lifespan you want in your videos. Whereas most production companies will just give you what works easiest for them, we want to give you multiple versions of the final product that will work, not only for your preferred distribution method, but for whatever new platform that might come up in the future.

KEY TERMS

FULLRES: Short for "Full Resolution" and also known as "ProRes". Full resolution videos are meant for archiving purposes, and are - what we like to call - "future proof". This means that regardless of whatever formats or platforms appear as the years come an go, this version of the video should have the ability to be re-wrapped or re-encoded to fit your needs. This results in a large file size, but is also the highest quality version of a video we are capable of delivering at this time (to the best of our knowledge).

COMPRESSED: Files with this term have been optimized for the internet while still retaining an HD quality. Research and many years of experience have allowed us to choose the best settings to fit any platform; whether it's Youtube, Vimeo, Facebook, Instagram, or Google. File sizes for these versions are much more manageable, so transferring, downloading, and uploading will be a breeze regardless of internet connection.

16x9: aka sixteen by nine OR 16:9 Aspect Ratio. This is the standard for most televisions, phones, and monitors at full screen (though there are slight variants across all devices). For those projects where a widescreen aesthetic may be used (a 2.30:1 aspect ratio), you will receive an cropped version (for uploading to platforms that allow the widescreen bars to be added via the audience's device or screen) and a 16x9 version (where the widescreen bars have been added in post) since some platforms may require this specific ratio.

RECEIVING YOUR PRODUCT

For most deliveries we use Google Drive, a cloud based platform that is intuitive and trustworthy. You will receive a link for each final product, including it's multiple versions, or a link to a folder containing all of your videos, for bigger projects. These should be directly downloadable to a hard-drive of your choice without any issue.

For those projects in which we are also delivering the RAW video and audio, these could take quite a bit of time, depending on internet connection, and google drive still has some bugs to work out. We've found the best method of getting your footage from google drive is to download their desktop application, add the respective folder into your own google drive account, and then select that folder on the application to automatically sync with your desktop/hard-drive.

 
 

We will also deliver these products in person on a case-by-case basis.

PLATFORM SPECIFICS

Youtube: Will accept FullRes videos. If you have an internet connection that can handle the upload, we suggest using this one. Keep in mind: IF YOU WANT TO USE END CARDS (A youtube specific function) then make sure your video is in a 16x9 aspect ratio.

Vimeo: We recommend using the "compressed" or "internet" version of the video. Though it will accept fullres, Vimeo's doesn't compress your videos like Youtube, so the priority is for streaming and playback. Any aspect ratio is accepted, but the best one (if you have the option) is the version without any widescreen bars.

Other social media platforms: Stick with the compressed versions at 16x9. 

V. Payment

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Arguably the most difficult part of the job, for any freelancer, is asking about money. That's why we've put this section last. We value the work everyone on our team, including our collaborators, puts in; therefore we believe that payment to all crew should always be made promptly - if not immediately. Whereas the industry still operates under terms such as "Net 15" and "Net 30", we do not operate under those restrictions, as new advances in digital transfer of funds, in our opinion, has greatly improved and continues to improve every day. We've put together a payment plan that reflects these improvements, allowing us to pay our crew for the work done without any wait period, while still easing the burden on our client by being as transparent and direct as possible.

Our payment plan has been carefully considered to fit each project regardless of its size. Below is a copy of the payment schedule for each stage of production and when they are due.

 

25%


Pre-Production

Due upon signing of contract. This also acts as a deposit. 

45%


Production

Due on or before first scheduled shoot date.

30%


Post Production

Due upon receipt of first version of deliverables, before Revisions/notes.

 

DESCRIPTION OF PAYMENTS

PRE-PRODUCTION.
Because this payment acts as a deposit, we require this payment before any work can be done. Payment is due the same day the contract is signed. Whether that is in person or not, please keep this in mind when considering how payment will be made.

PRODUCTION PAYMENT.
The first day of shooting is considered the official production date. That means regardless of how many days there are allotted for shooting, nor how spread out they may be, payment is due on the first day of shooting. For some projects this payment may be split up even further, but for the majority of projects the full payment is due the first day. Invoices will be sent out 7 days prior, as a reminder, and any payment made after the first day will result in a late fee. We have a high standard of paying our employees immediately after the work is done, and making sure the funds are our in our account to due so are of high priority. Since Royal Misfit Studios doesn't generate income for profit, we request our clients cooperation in helping us maintain these standards for each project.

POST PRODUCTION PAYMENT.
Because we don't set deadlines for our projects, the way to hold ourselves accountable during this step is by making sure this payment isn't due until you (the client) has received a version of the final product. It's important to note that this payment will be due 7 days after the delivery of this first version, along with revisions or notes; which will also be due on this date.
Why is this due before revisions are made or before I get the final, approved product? We believe that revisions and notes, when implementing, should only take a fraction of the time that the original editing process took. We put a lot of work and energy into making sure the first versions are as representative as the final product as possible; which is often why this part of the process takes the longest. With this in mind, we believe that 99% of the job is completed, before any pending revisions, and therefore our editors should be paid accordingly. In cases where there is dissatisfaction with the direction of the final product, or where more revisions are required than originally expected, then further negotiations will be made in order to make sure the final product will meet the clients needs while still maintaining a fair price for ongoing service; however, in terms of making sure editors are paid for the work already done, we have a strict policy in making sure this payment is always met, regardless of ongoing negotiations.

HOW TO MAKE PAYMENTS

VIA CHECK. Made out to "Royal Misfit Studios" or "Mattias Marasigan". We DO NOT accept checks via mail at this time. If you'd like to make arrangements for the proper delivery or pickup of a check, please do so before the scheduled due date of the payment.

VIA CREDIT. Modern technology allows us to accept credit or debit card payments using our very own smartphones. As with checks, please make arrangements for in person credit payment before scheduled due date.

VIA ELECTRONIC TRANSFER. Many of our clients request our ability to facilitate payments using some of the many money transfer services that are available, and we are very wiling to oblige. We currently accept payments using CASH APP, VENMO, and PAYPAL. For your convenience, we have included buttons below where you can make payments via these services, respectively. Please note: If making payment using the PAYPAL link below, please add 3.5% to your payment, failure to do so will result in a separate invoice to cover the fee.

(add 3.5%)

 

LATE PAYMENTS

All payment not received by 5PM CST on the specified due date will be considered late. A 10% late fee will be added and a new invoice will be sent reflecting this fee.