Speaker 1: Working with a budget, this is probably the hardest thing to do when you're trying to run productions, is figuring out just how much the client wants to spend on redundancy. Right now I'm going through this right now with a discovery for a big medical event that's going to happen in New York, probably in two weeks, I don't know yet if I'm going to be flying to New York to help this client do this surgical screening that they need to get done, but I was sort of walking my client through the very same steps that I have outlined here. It's like, well how important is this event and how important is it for it not to fail? Because that's going to dictate our budget, right? What's our liability if this thing doesn't work? And it's just like, well it's got to work, okay, well let's talk about making sure that we've got all of our ducks lined up so that if there's any point of failure, especially any kind of lockdown network, hospital networks are notoriously locked down and even getting a port out can take a week, two weeks, three weeks to work through an IT administrator to make happen. They inherently don't trust outsiders and that's for good reason. How do you present your bid? This is interesting. I know a lot of videographers in my area, NBC Infectors and Videographers Association in British Columbia that I've presented at, but it's interesting when you talk to people about how they present their bids to clients, how do they outline it? Is it just they come up with a lump sum that's going to cover every base, do they outline all their equipment costs so that they know it's going to be extra if something else happens day of? Like, oh, hey, can we get an extra monitor over here? Again, cover all your bases in terms of what needs to happen and outline it so that they know if they want changes, this is what it's going to cost. Usually I just spreadsheet it. I have a template that I use on Google Sheets that I replicate, especially with the BC Gov and recurring clients, so they can review and see what's happening. Oftentimes, especially for ongoing engagements, who's managing the archive? I'm not paid to manage archives, but clients often expect you to have backups even months later, right? Like, oh, we just suddenly misplaced that ProRes master. Did you delete those 10 terabytes of recordings that you did over two days? It's just like, well, I'm not going to just keep my SSD drives hanging around when you didn't pay me to just keep those drives reserved for you. Making sure that I always keep mezzanine files any time I edit and output high-res 1080p files. They're going to be compressed. They're not going to be ProRes masters, but again, just how those costs are going to be managed. I have a new event. Vendors, or I should say clients, will just presume that I've got an offering that's going to just be available if they need a change the next day or right before the event happens. Like, hey, can we add a paywall in front of this at the last minute? It's like, well, that's a pretty big change, and we need to discuss who's going to be collecting the money. How do you want to manage that? It's a big conversation that, again, I try to make sure during my discovery, I call it out to the clients. I have some breakdowns here on what equipment costs can include, and of course, redundancy for everything. I usually just try to be competitive with the rental rates on my gear, and be competitive with any of the locally accessible rental shops in that area, because if something happens to gear that I'm using, and I have to go get a backup at the last minute, I don't want to be in a position where I can't necessarily cover my costs to get that same gear into the equation again.