On Mon, 05 Jun 2000 15:37:17 -0400, John VanSickle
<van### [at] erolscom> wrote:

>What would be a reasonable figure to charge?

I can't give you a figure, but there is something that no one else
seems to be mentioning here. Photographers and many other artists that
sell to magazines, for example, adjust their charge based upon things
such as the expected size of the audience (how big the circulation
is), and the size the work will actually be printed at, (ie.,
full-page, 1/4 page, etc.)

A rough translation to your situation would be something like this:

If this will only be shown to small audiences, for a limited time, by
a person that doesn't draw large crowds, you might want to charge less
than someone else that performs on national TV to vast audiences.
Likewise, if this is to be a big or important part of his act, he
should pay more, than if it is just a small or minor part of his act.

To put it in the most primitive terms: The more *he* benefits, the
more *you* should benefit. Whatever arrangement you decide upon, keep
this in mind. Some have mentioned that the exposure alone might be of
benefit to you, regardless of actual payment. This is certainly a
factor to keep in mind, but only can decide how much this is worth to
you personally.

Your idea to charge for each showing is definitely a good idea. You
might also want to charge a figure based upon screen-time for the
animation itself, instead of the amount of hours you put into the
creation of the piece. In the future, if you made a longer animation
for him, it would naturally cost him more. 

(That doesn't mean that you can't factor your labor into the price
somehow, but I think you should consider presenting a price to your
customer as being based upon the running length of the animation.)

Finally, I do hope you are only licensing the rights to show your
animation for a specified time period, in a specified manner, and
don't make the mistake of letting him "buy" the animation from you
entirely. (Unless you get paid a very large sum for giving up all your
future rights to the piece.)

There are a million different ways to handle this, and many of them
are good ways. I hope I gave you at least one or two good ideas to
think about.

Later,
Glen Berry

7no### [at] ezwvcom
(Remove the "7" to reply via email.)

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