Voiceover Rate Guide
☛ "How to Charge Clients" Webinar
☛ كيف تتعامل ماليًا مع العملاء؟
☛ "How to Charge Clients" Webinar
☛ "How to Negotiate as a Pro" Webinar
☛ "How to Charge Clients" Webinar
☛ "How to Negotiate as a Pro" Webinar
Este tarifario se recopilo por Gravy For The Brain LATAM y un reconocido grupo Mexicano de locutores profesionales quienes trabajan activamente en el medio e incluye el tarifario publicado por la Asociación Mexicana de Locutores Comerciales - AMELOC. Nota: La mayoría de las cotizaciones se establecen mediante una previa negociación y no debes sentirte restringido por ningún límite superior o inferior en el tarifario.
The following tables represent a guide to the voiceover rates typically charged by voice artists in all Arabic speaking countries in the MENA Region. The guide has been compiled by Gravy For The Brain Arabia and a working group of the top VO Professionals in the MENA Region. Note that most quotations are done through negotiation and you should not feel restricted by any upper or lower limits!
**Typical Current Actual Market Rates: The rates specified in these tables are those generally commanded in AUSTRALIA by working voiceover artists. Of course any voiceover artist can charge anything they want – and should do so - but we have surveyed and found that this range is what voiceover artists typically charge. Accordingly, these rates may not be indicative of those charged by very established or well-known artists through their agents who can generally charge more. In those instances, fees are always agreed by negotiation and are subject to many variables. Also, lesser known artists may charge less in order to establish themselves or to build a reputation. We have tried to cover a typical spread of what the industry normally charges, even though any specific instance may vary from our Typical Low/Typical Average/Typical Upper classifications.
تمثل الجداول التالية دليلاً لمعدلات التعليق الصوتي التي يتقاضاها عادةً المعلقين الصوتيين في جمهورية مصر العربية. تم تجميع الدليل بواسطة Gravy For The Brain ومجموعة عمل من كبار المتخصصين في التعليق الصوتي بمصر والمنطقة العربية. لاحظ أن معظم عروض الأسعار تقدم بعد التفاوض ولا يجب أن تشعر بأنك مقيد بأي حد أعلى أو أدنى!
• El derecho a uso del material comercial grabado es para territorio dominicano, por un medio, y un (1) año contado a partir del primer día de pauta.
• Aplica un cargo adicional del 50% por re-uso de la voz en medios adicionales. También aplica por cada año de uso adicional.
• Si el talento es elegido por el cliente, convocado a grabar y se realiza la grabación de manera satisfactoria y luego el material, por causas ajenas al talento, no es utilizado, el cliente tiene el compromiso de pagar el 50% del costo original contratado por concepto de “material grabado y no utilizado”.
**Tarifas Promedio del Mercado Actual: Las tarifas especificadas en estas tablas son aquellas generalmente establecidas por locutores que trabajan en México. Cualquier locutor puede por supuesto cobrar lo que quiera y debe hacerlo, pero hemos analizado y encontramos que este rango es lo que los locutores suelen cobrar. En consecuencia, estas tarifas pueden no ser indicativas de lo que cobran locutores bien establecidos a través de sus agentes, quienes generalmente pueden cotizar más alto. En esos casos, las tarifas siempre se acuerdan mediante la negociación y están sujetas a muchas variables. Los locutores menos conocidos pueden cobrar menos para establecerse o para crear una reputación. Hemos tratado de mostrar un rango que normalmente se cobra en la industria, aunque cualquier rubro específico puede variar de nuestras clasificaciones Bajo / Promedio / Alto.
**Tarifas Promedio del Mercado Actual: Estos precios están expresados en pesos uruguayos y no incluyen IVA, el que seadicionará en la factura.
Contratado y contratante están obligados a firmar conjuntamente y en el momento dela grabación, el respectivo contrato de ALPU.
Una vez cumplido el plazo del contrato, la renovación se facturará de acuerdo a lascondiciones vigentes al momento de la renovación, si el locutor así lo autoriza.
Los atrasos en los pagos, tendrán el correspondiente recargo de intereses, conformelo establece el contrato.
El contratante deberá avisar al profesional, el (los) medio(s) en que se difundirá(n)la(s) pieza(s).
Los acuerdos por cantidad de piezas deberán consultarse en ALPU y su vigencia nopodrá ser mayor a 1 año.
Todo ítem no incluido consultar en secretaría de ALPU.. Cualquier locutor puede por supuesto cobrar lo que quiera y debe hacerlo, pero hemos analizado y encontramos que este rango es lo que los locutores suelen cobrar. En consecuencia, estas tarifas pueden no ser indicativas de lo que cobran locutores bien establecidos a través de sus agentes, quienes generalmente pueden cotizar más alto. En esos casos, las tarifas siempre se acuerdan mediante la negociación y están sujetas a muchas variables. Los locutores menos conocidos pueden cobrar menos para establecerse o para crear una reputación. Hemos tratado de mostrar un rango que normalmente se cobra en la industria, aunque cualquier rubro específico puede variar de nuestras clasificaciones Bajo / Promedio / Alto.
• El derecho a uso del material comercial grabado es para territorio dominicano, por un medio, y un (1) año contado a partir del primer día de pauta.
• Aplica un cargo adicional del 50% por re-uso de la voz en medios adicionales. También aplica por cada año de uso adicional.
• Si el talento es elegido por el cliente, convocado a grabar y se realiza la grabación de manera satisfactoria y luego el material, por causas ajenas al talento, no es utilizado, el cliente tiene el compromiso de pagar el 50% del costo original contratado por concepto de “material grabado y no utilizado”.
**Tarifas Promedio del Mercado Actual: Las tarifas especificadas en estas tablas son aquellas generalmente establecidas por locutores que trabajan en El Salvador, según la Asociación de Locutores Salvadoreños (ALSA). Cualquier locutor puede por supuesto cobrar lo que quiera y debe hacerlo, pero hemos analizado y encontramos que este rango es lo que los locutores suelen cobrar. En consecuencia, estas tarifas pueden no ser indicativas de lo que cobran locutores bien establecidos a través de sus agentes, quienes generalmente pueden cotizar más alto. En esos casos, las tarifas siempre se acuerdan mediante la negociación y están sujetas a muchas variables. Los locutores menos conocidos pueden cobrar menos para establecerse o para crear una reputación. Hemos tratado de mostrar un rango que normalmente se cobra en la industria, aunque cualquier rubro específico puede variar de nuestras clasificaciones Bajo / Promedio / Alto.
**Tarifas Promedio del Mercado Actual: Estos precios están expresados DLS, el que seadicionará en la factura.
Contratado y contratante están obligados a firmar conjuntamente y en el momento dela grabación.
Una vez cumplido el plazo del contrato, la renovación se facturará de acuerdo a lascondiciones vigentes al momento de la renovación, si el locutor así lo autoriza.
Los atrasos en los pagos, tendrán el correspondiente recargo de intereses, conformelo establece el contrato.
El contratante deberá avisar al profesional, el (los) medio(s) en que se difundirá(n)la(s) pieza(s).
Los acuerdos por cantidad de piezas deberán consultarse en ALCEC y su vigencia nopodrá ser mayor a 1 año.
Cualquier locutor puede por supuesto cobrar lo que quiera y debe hacerlo, pero hemos analizado y encontramos que este rango es lo que los locutores suelen cobrar. En consecuencia, estas tarifas pueden no ser indicativas de lo que cobran locutores bien establecidos a través de sus agentes, quienes generalmente pueden cotizar más alto. En esos casos, las tarifas siempre se acuerdan mediante la negociación y están sujetas a muchas variables. Los locutores menos conocidos pueden cobrar menos para establecerse o para crear una reputación. Hemos tratado de mostrar un rango que normalmente se cobra en la industria, aunque cualquier rubro específico puede variar de nuestras clasificaciones Bajo / Promedio / Alto.
Las siguientes tablas representan una guía de las tarifas de locución que suelen cobrar los locutores en España. La guía ha sido compilada por Gravy For The Brain y un grupo de trabajo de los mejores profesionales de VO de España e incluye las tarifas acordadas por el sindicato de actores de doblaje ADOMA. Tenga en cuenta que las tarifas que se exponen son orientativas y de libre aplicación por los locutores y no debe sentirse restringido por ningún límite superior o inferior. Es libre de pactar con su cliente la cuantía de sus honorarios, según la normativa vigente en materia de libre competencia.
Os valores a seguir representam um guia de cachês de locução que são geralmente praticados por profissionais da voz no Brasil. Este guia foi compilado pelo Gravy For The Brain juntamente com um grupo de locutores brasileiros. É importante ressaltar que a maioria das cotações são feitas por meio de negociação e você não deve se sentir restrito a limite algum, seja ele superior ou inferior!
**Tarifas Promedio del Mercado Actual: Las tarifas especificadas en estas tablas son aquellas generalmente establecidas por locutores que trabajan en Perú. Cualquier locutor puede por supuesto cobrar lo que quiera y debe hacerlo, pero hemos analizado y encontramos que este rango es lo que los locutores suelen cobrar. En consecuencia, estas tarifas pueden no ser indicativas de lo que cobran locutores bien establecidos a través de sus agentes, quienes generalmente pueden cotizar más alto. En esos casos, las tarifas siempre se acuerdan mediante la negociación y están sujetas a muchas variables. Los locutores menos conocidos pueden cobrar menos para establecerse o para crear una reputación. Hemos tratado de mostrar un rango que normalmente se cobra en la industria, aunque cualquier rubro específico puede variar de nuestras clasificaciones Bajo / Promedio / Alto.
Note all the points above - the price per station is a multiplier which is used to calculate the rate for that commercial, multiplied by the number of commercials (including separate taglines), the number of radio stations that commercial is played out on and the number of voice artists (in this case, 1, you).
For example on a £24.40 station, with 5 scripts (or 1 script with 5 different taglines), to be played out on 20 stations, the price would be calculated as £24.40 x 5 x 20 = £2,440.
Note also that this is for a usage license for 12 months only.
Charging Usage on Television Commercials:
TV commercials advertise commercial products in advert-breaks. All usage calculations are done via the GFTB Television Rates Calculator (or the usefee.tv website).
Working out Usage - National TVR's
Working Out Usage - Regional TVR's (Just One Region)
Working Out Usage - Regional TVR's (Multiple Regions)
Cast Study 1 - exactly the same # TVR's for each region.
Case Study 2 - different # TVR's for each region.
Working Out Usage - Impressions
However, the number of impressions => TVR ratio is currently under debate.
Working Out Usage - International
Working Out Usage - New Vs Re-Runs
- إيجار الاستديوهات عموماً يكون بساعة العمل. سعر الساعة ثابت لجميع أنواع الهندسة الصوتية كالتسجيل والميكساج وتصميم شريط الصوت.
- كسر الساعة يعامل معاملة الساعة وعادة لا تحسب أنصاف الساعات إلا بعد انقضاء الساعة الأولى كاملة.
يجوز التعامل مع الشرائح بحساب الزمن الإجمالي للنصوص أو التعامل مع كل نص على حدى حسب الشريحة
ملحوظة: حيث إنه لا يوجد أي مؤسسة أو جهة حكومية أو غير حكومية لحماية حقوق المعلقين الصوتيين من العرض بدون ترخيص، لا يعتد بمبدأ معاملة إعلانات التلفزيون والراديو والإنترنت معاملات مختلفة من حيث تقدير الأتعاب الأساسية أو رسوم الاستخدام.
DEFINITIONS:: - NTW Network: national coverage, or all the biggest urban areas.
CHANNEL GROUP: - Company that manages several networks. Each group includes the programming on their own OTTVs. For OTTV definition see the internet section.
Over A Year: - Period of 12 months since the first date of programming.
Single region or Limited Target TV Programming in a limited portion of the Italian territory or network with a distinctive “niche” audience.
NON COMMERCIAL PURPOSES: - Recording sessions for non commercial use are for ADRs, dubbing movies, tv series, voiceovers for interviews, tv documentaries, tv programmes and forms of communication NOT concerning brands and their products or services. Podcasts of general interests are included in this category.
DURATION: - Recording sessions for non commercial use usually last from 1 up to 3 hours. For special reasons these can be extended to the 4th hour, if agreed with the talent.
RECORDING FEES: - Each session is calculated as: the 1st hour at 100% BSF, then 2nd, 3rd (and the potential 4th) each at 50% of the BSF. If another session, technically possible and agreed by the talent, takes place the same day, the calculation of the fees starts again. In other words, 5 hours at the microphone result in 2 hours at 100% of the BSF and 3 at 50% of the BSF; 6 hours at the microphone as 2 at 100% and 4 at 50%; 7 hours as 2 at 100% and 5 at 50%; 8 hours as 2 at 100% and 6 at 50%.
BSF: Low £190,00 - Average £220,00 - High 250,00
NO USAGE FEES: - Generally speaking, usage fees aren’t requested for these recordings.
COMMERCIAL PURPOSES: - Recording sessions for commercial use are about any form of communication concerning brands, products, services, either advertising them directly (on tv, radio and the Internet) or through brand awareness videos, corporate recordings, communication to customers and to work force. Podcast either sponsored or commissioned by a brand are included in this category. These forms of communication can be public or internal; the usage fees are calculated accordingly.
DURATION: - Recording sessions for commercial / branded products don’t have a mandatory duration, but 1 hour BSF has to be always considered as minimum.
RECORDING FEES: - Recording fees are multiples of the BSF, starting from 1 hour. BSF: Low £190,00 - Average £220,00 - High 250,00
USAGE FEES: - For all the commercial / branded purposes usage fees might vary considerably according to their usage, destinations and media, as illustrated in the following pages of this guideline.
NOTES
NET FEES: - All the rates, resulting from the percentages herewith illustrated, are intended as net fees paid to the talents. Based on an average BSF, they correspond to the minimum rates granted to Italian VO talents on the Italian territory, however each talent has the right to negotiate personal fees when particular cases occur.
CREDITS: - It is in the rights of the talents asking to be credited in the final titles; it is also common (and not considered a breach of any agreements) for talents to mention their roles, once they are in the public domain.
Campaign Organized course of action to promote a product.
Product Core of the campaign and its target. It could be a physical product, a service, an action or a brand. It is “what is advertised”.
Subject It could be recapped as “the title of the movie” (title of the clip) that identifies script, scenes, actors and synopsis. A subject might be broadcast in different cuts and a campaign might be composed by different subjects of the same product or different subjects for different products.
Cuts Each version of the same subject, having shorter or longer duration, to reach the same final aim. Cuts traditionally are 5, 7, 10, 15, 20, 30, 45, 60 seconds long on TV/Cinema/Radio and sometimes different on the Internet.
How To Read and Calculate TV Rights
Channels / Groups / All TV. They are “all inclusive” solutions for a single week or multiple weeks across all the screens in Italy. Their price is not cheap but less than buying several channels and groups. There might be exceptions when the campaign is specifically broadcast only on one or two channels: in this case there’s a section for 1 or 2 networks. When a campaign is broadcast by multiple networks owned or traded by a single group, such as SKY, there are dedicated prices. Generally speaking, when a campaign concerns more than 2 groups, the ALL TV configuration is cheaper and simpler. The price is also determined by the number of weeks, the first week being the more expensive and then adding the second figure for each additional week. If a campaign is 8 weeks we will determine the rights as: first week + (7 x additional weeks).
The cap fee is represented by 24 weeks (almost six months), at which point the yearly figure has to be considered.
How To Read and Calculate Radio Rights
Similar to TV but without groups. Prices are determined by the number of national radios broadcasting the campaign with a cap of 8 stations, before ALL Radio is considered. The criteria about the duration of the campaign is exactly as the tv: first week and each additional week with a maximum of 24 which grants the rights for 1 year.
How To Calculate Internet Fees by time
Internet is the only “media” that can be calculated in 2 ways: traditionally in weeks, or knowing the number of impressions contracted by the client with all the platforms such as Google/YouTube, Meta (fb and instagram) and so on. Since the campaigns on the internet are often tailored on their audiences, each week is the same price, different from tv and radio. The cap is 37 weeks, then the annual rate has to be considered.
If it’s impossible to have precise impressions, a considerable discount could be granted when the communication is targeting a limited audience, that could be either a city or a specific niche of the population. In each case the impressions system is more proportioned to the cost that the client is facing.
How to Calculate Internet Fees by Impressions
0.04% for each thousand impressions. So if the campaign has a declared paid target of 30 million impressions, first you have to determine how many k impressions: simply 30,000k. At this point you can multiply 30,000 x 0.04 = 1200. 1200% of the BSF is the usage fee for 30 million internet impressions.
50% Discount for Media Combinations
This rate card has 3 different sections dedicated to commercials. TV (which includes also screens such as cinema and public events) Radio (that is FM, DAB and CC radios) and Internet (including streaming tv, streaming music and internet radio). Campaigns across more sections, negotiated simultaneously, benefit from a 50% discount of the cheapest section among 2 or 3. It is important to remember that if a campaign is negotiated, for
instance, only for tv and the campaign is extend later in the year involving another media, the combination does not apply.
BSF and USAGE FEES calculated per campaign and not per cuts
Time is the only criteria at the base of the BSF and it is the same no matter how many scripts a talent can read (with a consideration for the average human limits, obviously).
For the determination of the usage fees instead, the number of scripts (as a result of several cuts, several subjects or both) might or might not be a factor. Different cuts and subjects are still considered as a whole as long as they basically promote the same product or service of the advertising campaign.
Therefore, in all those cases it is crucial to ascertain “the core” of the campaign, that ultimately relates to the rights calculation.
How to consider the “subjects”
Example 1
A campaign for the automotive brand Acme and the introduction of their new model Xyz, articulated in 2 subjects “dad picking the boys up with the new
car” and “mum going to work with the new car”, both in 3 cuts 30”, 20”, 10”.
Broadcast for 12 weeks all tv and 4 weeks all internet (PAID).
All recorded in 1 hour. = 1 BSF
The exposed product is still one: the new Xyz. Hence the right fees will be calculated only once.
If negotiated simultaneously the cheapest element (in this case internet) is discounted by 50%
TV Usage fees = 400% first week + (11 x 80% each week= 880%) = 1280%
Internet fees (time) 40% x 4 weeks = 160% / 2 (discount) = 80%
Usage rights total = 1360% of the BSF.
Example 2
A campaign for the automotive brand Acme and their new electric cars. 3 products (model Xyz electric, Coupé Sport Yzx electric and Suv Zyx electric), 1
subject and 3 cuts for each product.
4 Weeks on all TV and one year all internet (PAID).
In this case the products (and their targets) are different, so, while the BSF is only determined by the number of hours at the microphone, the usage fees
must be applied 3 times.
If negotiated simultaneously the cheapest element (in this case TV) is discounted by 50%
TV usage fees 400 (first week) +(3x80 each week)=640% / 2 (discount) = 320%
Internet PAID fees (1 year) = 1500%
Usage rights per subject 1820%
Total usage rights of the campaign 1820 x 3 = 5460%
Example 3
A campaign for the automotive brand Acme and the 20% December sales, articulated in 4 subjects for 4 different car models, each subject in 2 cuts.
Broadcast for 2 weeks, all TV + client facebook and website pages (NON PAID).
Recorded in 2 hours. = BSF x 2
Whilst the products and the subjects are different, the main goal of the campaign is the discounted promotion, also demonstrated by the limited on-air
time. Usage rights calculated only once.
If negotiated simultaneously the cheapest element (in this case internet) is discounted by 50%
TV Usage fees = 400% + 80% (first and second week) = 480%
Internet NON PAID 200% / 2 (discount) = 100%
Usage rights total = 580% of the BSF.
Product Core of the campaign and its target. It could be a physical product, a service, an action or a brand. It is “what is advertised”.
Subject It could be recapped as “the title of the movie” (title of the clip) that identifies script, scenes, actors and synopsis. A subject might be broadcast in different cuts and a campaign might be composed by different subjects of the same product or different subjects for different products.
Cuts Each version of the same subject, having shorter or longer duration, to reach the same final aim. Cuts traditionally are 5, 7, 10, 15, 20, 30, 45, 60 seconds long on TV/Cinema/Radio and sometimes different on the Internet.
How To Read and Calculate TV Rights
Channels / Groups / All TV. They are “all inclusive” solutions for a single week or multiple weeks across all the screens in Italy. Their price is not cheap but less than buying several channels and groups. There might be exceptions when the campaign is specifically broadcast only on one or two channels: in this case there’s a section for 1 or 2 networks. When a campaign is broadcast by multiple networks owned or traded by a single group, such as SKY, there are dedicated prices. Generally speaking, when a campaign concerns more than 2 groups, the ALL TV configuration is cheaper and simpler. The price is also determined by the number of weeks, the first week being the more expensive and then adding the second figure for each additional week. If a campaign is 8 weeks we will determine the rights as: first week + (7 x additional weeks).
The cap fee is represented by 24 weeks (almost six months), at which point the yearly figure has to be considered.
How To Read and Calculate Radio Rights
Similar to TV but without groups. Prices are determined by the number of national radios broadcasting the campaign with a cap of 8 stations, before ALL Radio is considered. The criteria about the duration of the campaign is exactly as the tv: first week and each additional week with a maximum of 24 which grants the rights for 1 year.
How To Calculate Internet Fees by time
Internet is the only “media” that can be calculated in 2 ways: traditionally in weeks, or knowing the number of impressions contracted by the client with all the platforms such as Google/YouTube, Meta (fb and instagram) and so on. Since the campaigns on the internet are often tailored on their audiences, each week is the same price, different from tv and radio. The cap is 37 weeks, then the annual rate has to be considered.
If it’s impossible to have precise impressions, a considerable discount could be granted when the communication is targeting a limited audience, that could be either a city or a specific niche of the population. In each case the impressions system is more proportioned to the cost that the client is facing.
How to Calculate Internet Fees by Impressions
0.04% for each thousand impressions. So if the campaign has a declared paid target of 30 million impressions, first you have to determine how many k impressions: simply 30,000k. At this point you can multiply 30,000 x 0.04 = 1200. 1200% of the BSF is the usage fee for 30 million internet impressions.
50% Discount for Media Combinations
This rate card has 3 different sections dedicated to commercials. TV (which includes also screens such as cinema and public events) Radio (that is FM, DAB and CC radios) and Internet (including streaming tv, streaming music and internet radio). Campaigns across more sections, negotiated simultaneously, benefit from a 50% discount of the cheapest section among 2 or 3. It is important to remember that if a campaign is negotiated, for
instance, only for tv and the campaign is extend later in the year involving another media, the combination does not apply.
BSF and USAGE FEES calculated per campaign and not per cuts
Time is the only criteria at the base of the BSF and it is the same no matter how many scripts a talent can read (with a consideration for the average human limits, obviously).
For the determination of the usage fees instead, the number of scripts (as a result of several cuts, several subjects or both) might or might not be a factor. Different cuts and subjects are still considered as a whole as long as they basically promote the same product or service of the advertising campaign.
Therefore, in all those cases it is crucial to ascertain “the core” of the campaign, that ultimately relates to the rights calculation.
How to consider the “subjects”
Example 1
A campaign for the automotive brand Acme and the introduction of their new model Xyz, articulated in 2 subjects “dad picking the boys up with the new
car” and “mum going to work with the new car”, both in 3 cuts 30”, 20”, 10”.
Broadcast for 12 weeks all tv and 4 weeks all internet (PAID).
All recorded in 1 hour. = 1 BSF
The exposed product is still one: the new Xyz. Hence the right fees will be calculated only once.
If negotiated simultaneously the cheapest element (in this case internet) is discounted by 50%
TV Usage fees = 400% first week + (11 x 80% each week= 880%) = 1280%
Internet fees (time) 40% x 4 weeks = 160% / 2 (discount) = 80%
Usage rights total = 1360% of the BSF.
Example 2
A campaign for the automotive brand Acme and their new electric cars. 3 products (model Xyz electric, Coupé Sport Yzx electric and Suv Zyx electric), 1
subject and 3 cuts for each product.
4 Weeks on all TV and one year all internet (PAID).
In this case the products (and their targets) are different, so, while the BSF is only determined by the number of hours at the microphone, the usage fees
must be applied 3 times.
If negotiated simultaneously the cheapest element (in this case TV) is discounted by 50%
TV usage fees 400 (first week) +(3x80 each week)=640% / 2 (discount) = 320%
Internet PAID fees (1 year) = 1500%
Usage rights per subject 1820%
Total usage rights of the campaign 1820 x 3 = 5460%
Example 3
A campaign for the automotive brand Acme and the 20% December sales, articulated in 4 subjects for 4 different car models, each subject in 2 cuts.
Broadcast for 2 weeks, all TV + client facebook and website pages (NON PAID).
Recorded in 2 hours. = BSF x 2
Whilst the products and the subjects are different, the main goal of the campaign is the discounted promotion, also demonstrated by the limited on-air
time. Usage rights calculated only once.
If negotiated simultaneously the cheapest element (in this case internet) is discounted by 50%
TV Usage fees = 400% + 80% (first and second week) = 480%
Internet NON PAID 200% / 2 (discount) = 100%
Usage rights total = 580% of the BSF.
DEFINITIONS:: - NTW Network: national coverage, or all the biggest urban areas.
CHANNEL GROUP: - Company that manages several networks. Each group includes the programming on their own OTTVs. For OTTV definition see the internet section.
Over A Year: - Period of 12 months since the first date of programming.
Single region or Limited Target TV Programming in a limited portion of the Italian territory or network with a distinctive “niche” audience.
NON COMMERCIAL PURPOSES: - Recording sessions for non commercial use are for ADRs, dubbing movies, tv series, voiceovers for interviews, tv documentaries, tv programmes and forms of communication NOT concerning brands and their products or services. Podcasts of general interests are included in this category.
DURATION: - Recording sessions for non commercial use usually last from 1 up to 3 hours. For special reasons these can be extended to the 4th hour, if agreed with the talent.
RECORDING FEES: - Each session is calculated as: the 1st hour at 100% BSF, then 2nd, 3rd (and the potential 4th) each at 50% of the BSF. If another session, technically possible and agreed by the talent, takes place the same day, the calculation of the fees starts again. In other words, 5 hours at the microphone result in 2 hours at 100% of the BSF and 3 at 50% of the BSF; 6 hours at the microphone as 2 at 100% and 4 at 50%; 7 hours as 2 at 100% and 5 at 50%; 8 hours as 2 at 100% and 6 at 50%.
BSF: Low £190,00 - Average £220,00 - High 250,00
NO USAGE FEES: - Generally speaking, usage fees aren’t requested for these recordings.
COMMERCIAL PURPOSES: - Recording sessions for commercial use are about any form of communication concerning brands, products, services, either advertising them directly (on tv, radio and the Internet) or through brand awareness videos, corporate recordings, communication to customers and to work force. Podcast either sponsored or commissioned by a brand are included in this category. These forms of communication can be public or internal; the usage fees are calculated accordingly.
DURATION: - Recording sessions for commercial / branded products don’t have a mandatory duration, but 1 hour BSF has to be always considered as minimum.
RECORDING FEES: - Recording fees are multiples of the BSF, starting from 1 hour. BSF: Low £190,00 - Average £220,00 - High 250,00
USAGE FEES: - For all the commercial / branded purposes usage fees might vary considerably according to their usage, destinations and media, as illustrated in the following pages of this guideline.
NOTES
NET FEES: - All the rates, resulting from the percentages herewith illustrated, are intended as net fees paid to the talents. Based on an average BSF, they correspond to the minimum rates granted to Italian VO talents on the Italian territory, however each talent has the right to negotiate personal fees when particular cases occur.
CREDITS: - It is in the rights of the talents asking to be credited in the final titles; it is also common (and not considered a breach of any agreements) for talents to mention their roles, once they are in the public domain.
Campaign Organized course of action to promote a product.
Product Core of the campaign and its target. It could be a physical product, a service, an action or a brand. It is “what is advertised”.
Subject It could be recapped as “the title of the movie” (title of the clip) that identifies script, scenes, actors and synopsis. A subject might be broadcast in different cuts and a campaign might be composed by different subjects of the same product or different subjects for different products.
Cuts Each version of the same subject, having shorter or longer duration, to reach the same final aim. Cuts traditionally are 5, 7, 10, 15, 20, 30, 45, 60 seconds long on TV/Cinema/Radio and sometimes different on the Internet.
How To Read and Calculate TV Rights
Channels / Groups / All TV. They are “all inclusive” solutions for a single week or multiple weeks across all the screens in Italy. Their price is not cheap but less than buying several channels and groups. There might be exceptions when the campaign is specifically broadcast only on one or two channels: in this case there’s a section for 1 or 2 networks. When a campaign is broadcast by multiple networks owned or traded by a single group, such as SKY, there are dedicated prices. Generally speaking, when a campaign concerns more than 2 groups, the ALL TV configuration is cheaper and simpler. The price is also determined by the number of weeks, the first week being the more expensive and then adding the second figure for each additional week. If a campaign is 8 weeks we will determine the rights as: first week + (7 x additional weeks).
The cap fee is represented by 24 weeks (almost six months), at which point the yearly figure has to be considered.
How To Read and Calculate Radio Rights
Similar to TV but without groups. Prices are determined by the number of national radios broadcasting the campaign with a cap of 8 stations, before ALL Radio is considered. The criteria about the duration of the campaign is exactly as the tv: first week and each additional week with a maximum of 24 which grants the rights for 1 year.
How To Calculate Internet Fees by time
Internet is the only “media” that can be calculated in 2 ways: traditionally in weeks, or knowing the number of impressions contracted by the client with all the platforms such as Google/YouTube, Meta (fb and instagram) and so on. Since the campaigns on the internet are often tailored on their audiences, each week is the same price, different from tv and radio. The cap is 37 weeks, then the annual rate has to be considered.
If it’s impossible to have precise impressions, a considerable discount could be granted when the communication is targeting a limited audience, that could be either a city or a specific niche of the population. In each case the impressions system is more proportioned to the cost that the client is facing.
How to Calculate Internet Fees by Impressions
0.04% for each thousand impressions. So if the campaign has a declared paid target of 30 million impressions, first you have to determine how many k impressions: simply 30,000k. At this point you can multiply 30,000 x 0.04 = 1200. 1200% of the BSF is the usage fee for 30 million internet impressions.
50% Discount for Media Combinations
This rate card has 3 different sections dedicated to commercials. TV (which includes also screens such as cinema and public events) Radio (that is FM, DAB and CC radios) and Internet (including streaming tv, streaming music and internet radio). Campaigns across more sections, negotiated simultaneously, benefit from a 50% discount of the cheapest section among 2 or 3. It is important to remember that if a campaign is negotiated, for
instance, only for tv and the campaign is extend later in the year involving another media, the combination does not apply.
BSF and USAGE FEES calculated per campaign and not per cuts
Time is the only criteria at the base of the BSF and it is the same no matter how many scripts a talent can read (with a consideration for the average human limits, obviously).
For the determination of the usage fees instead, the number of scripts (as a result of several cuts, several subjects or both) might or might not be a factor. Different cuts and subjects are still considered as a whole as long as they basically promote the same product or service of the advertising campaign.
Therefore, in all those cases it is crucial to ascertain “the core” of the campaign, that ultimately relates to the rights calculation.
How to consider the “subjects”
Example 1
A campaign for the automotive brand Acme and the introduction of their new model Xyz, articulated in 2 subjects “dad picking the boys up with the new
car” and “mum going to work with the new car”, both in 3 cuts 30”, 20”, 10”.
Broadcast for 12 weeks all tv and 4 weeks all internet (PAID).
All recorded in 1 hour. = 1 BSF
The exposed product is still one: the new Xyz. Hence the right fees will be calculated only once.
If negotiated simultaneously the cheapest element (in this case internet) is discounted by 50%
TV Usage fees = 400% first week + (11 x 80% each week= 880%) = 1280%
Internet fees (time) 40% x 4 weeks = 160% / 2 (discount) = 80%
Usage rights total = 1360% of the BSF.
Example 2
A campaign for the automotive brand Acme and their new electric cars. 3 products (model Xyz electric, Coupé Sport Yzx electric and Suv Zyx electric), 1
subject and 3 cuts for each product.
4 Weeks on all TV and one year all internet (PAID).
In this case the products (and their targets) are different, so, while the BSF is only determined by the number of hours at the microphone, the usage fees
must be applied 3 times.
If negotiated simultaneously the cheapest element (in this case TV) is discounted by 50%
TV usage fees 400 (first week) +(3x80 each week)=640% / 2 (discount) = 320%
Internet PAID fees (1 year) = 1500%
Usage rights per subject 1820%
Total usage rights of the campaign 1820 x 3 = 5460%
Example 3
A campaign for the automotive brand Acme and the 20% December sales, articulated in 4 subjects for 4 different car models, each subject in 2 cuts.
Broadcast for 2 weeks, all TV + client facebook and website pages (NON PAID).
Recorded in 2 hours. = BSF x 2
Whilst the products and the subjects are different, the main goal of the campaign is the discounted promotion, also demonstrated by the limited on-air
time. Usage rights calculated only once.
If negotiated simultaneously the cheapest element (in this case internet) is discounted by 50%
TV Usage fees = 400% + 80% (first and second week) = 480%
Internet NON PAID 200% / 2 (discount) = 100%
Usage rights total = 580% of the BSF.
DEFINITIONS:: - NTW Network: national coverage, or all the biggest urban areas.
CHANNEL GROUP: - Company that manages several networks. Each group includes the programming on their own OTTVs. For OTTV definition see the internet section.
Over A Year: - Period of 12 months since the first date of programming.
Single region or Limited Target TV Programming in a limited portion of the Italian territory or network with a distinctive “niche” audience.
NON COMMERCIAL PURPOSES: - Recording sessions for non commercial use are for ADRs, dubbing movies, tv series, voiceovers for interviews, tv documentaries, tv programmes and forms of communication NOT concerning brands and their products or services. Podcasts of general interests are included in this category.
DURATION: - Recording sessions for non commercial use usually last from 1 up to 3 hours. For special reasons these can be extended to the 4th hour, if agreed with the talent.
RECORDING FEES: - Each session is calculated as: the 1st hour at 100% BSF, then 2nd, 3rd (and the potential 4th) each at 50% of the BSF. If another session, technically possible and agreed by the talent, takes place the same day, the calculation of the fees starts again. In other words, 5 hours at the microphone result in 2 hours at 100% of the BSF and 3 at 50% of the BSF; 6 hours at the microphone as 2 at 100% and 4 at 50%; 7 hours as 2 at 100% and 5 at 50%; 8 hours as 2 at 100% and 6 at 50%.
BSF: Low £190,00 - Average £220,00 - High 250,00
NO USAGE FEES: - Generally speaking, usage fees aren’t requested for these recordings.
COMMERCIAL PURPOSES: - Recording sessions for commercial use are about any form of communication concerning brands, products, services, either advertising them directly (on tv, radio and the Internet) or through brand awareness videos, corporate recordings, communication to customers and to work force. Podcast either sponsored or commissioned by a brand are included in this category. These forms of communication can be public or internal; the usage fees are calculated accordingly.
DURATION: - Recording sessions for commercial / branded products don’t have a mandatory duration, but 1 hour BSF has to be always considered as minimum.
RECORDING FEES: - Recording fees are multiples of the BSF, starting from 1 hour. BSF: Low £190,00 - Average £220,00 - High 250,00
USAGE FEES: - For all the commercial / branded purposes usage fees might vary considerably according to their usage, destinations and media, as illustrated in the following pages of this guideline.
NOTES
NET FEES: - All the rates, resulting from the percentages herewith illustrated, are intended as net fees paid to the talents. Based on an average BSF, they correspond to the minimum rates granted to Italian VO talents on the Italian territory, however each talent has the right to negotiate personal fees when particular cases occur.
CREDITS: - It is in the rights of the talents asking to be credited in the final titles; it is also common (and not considered a breach of any agreements) for talents to mention their roles, once they are in the public domain.
Campaign Organized course of action to promote a product.
Product Core of the campaign and its target. It could be a physical product, a service, an action or a brand. It is “what is advertised”.
Subject It could be recapped as “the title of the movie” (title of the clip) that identifies script, scenes, actors and synopsis. A subject might be broadcast in different cuts and a campaign might be composed by different subjects of the same product or different subjects for different products.
Cuts Each version of the same subject, having shorter or longer duration, to reach the same final aim. Cuts traditionally are 5, 7, 10, 15, 20, 30, 45, 60 seconds long on TV/Cinema/Radio and sometimes different on the Internet.
How To Read and Calculate TV Rights
Channels / Groups / All TV. They are “all inclusive” solutions for a single week or multiple weeks across all the screens in Italy. Their price is not cheap but less than buying several channels and groups. There might be exceptions when the campaign is specifically broadcast only on one or two channels: in this case there’s a section for 1 or 2 networks. When a campaign is broadcast by multiple networks owned or traded by a single group, such as SKY, there are dedicated prices. Generally speaking, when a campaign concerns more than 2 groups, the ALL TV configuration is cheaper and simpler. The price is also determined by the number of weeks, the first week being the more expensive and then adding the second figure for each additional week. If a campaign is 8 weeks we will determine the rights as: first week + (7 x additional weeks).
The cap fee is represented by 24 weeks (almost six months), at which point the yearly figure has to be considered.
How To Read and Calculate Radio Rights
Similar to TV but without groups. Prices are determined by the number of national radios broadcasting the campaign with a cap of 8 stations, before ALL Radio is considered. The criteria about the duration of the campaign is exactly as the tv: first week and each additional week with a maximum of 24 which grants the rights for 1 year.
How To Calculate Internet Fees by time
Internet is the only “media” that can be calculated in 2 ways: traditionally in weeks, or knowing the number of impressions contracted by the client with all the platforms such as Google/YouTube, Meta (fb and instagram) and so on. Since the campaigns on the internet are often tailored on their audiences, each week is the same price, different from tv and radio. The cap is 37 weeks, then the annual rate has to be considered.
If it’s impossible to have precise impressions, a considerable discount could be granted when the communication is targeting a limited audience, that could be either a city or a specific niche of the population. In each case the impressions system is more proportioned to the cost that the client is facing.
How to Calculate Internet Fees by Impressions
0.04% for each thousand impressions. So if the campaign has a declared paid target of 30 million impressions, first you have to determine how many k impressions: simply 30,000k. At this point you can multiply 30,000 x 0.04 = 1200. 1200% of the BSF is the usage fee for 30 million internet impressions.
50% Discount for Media Combinations
This rate card has 3 different sections dedicated to commercials. TV (which includes also screens such as cinema and public events) Radio (that is FM, DAB and CC radios) and Internet (including streaming tv, streaming music and internet radio). Campaigns across more sections, negotiated simultaneously, benefit from a 50% discount of the cheapest section among 2 or 3. It is important to remember that if a campaign is negotiated, for
instance, only for tv and the campaign is extend later in the year involving another media, the combination does not apply.
BSF and USAGE FEES calculated per campaign and not per cuts
Time is the only criteria at the base of the BSF and it is the same no matter how many scripts a talent can read (with a consideration for the average human limits, obviously).
For the determination of the usage fees instead, the number of scripts (as a result of several cuts, several subjects or both) might or might not be a factor. Different cuts and subjects are still considered as a whole as long as they basically promote the same product or service of the advertising campaign.
Therefore, in all those cases it is crucial to ascertain “the core” of the campaign, that ultimately relates to the rights calculation.
How to consider the “subjects”
Example 1
A campaign for the automotive brand Acme and the introduction of their new model Xyz, articulated in 2 subjects “dad picking the boys up with the new
car” and “mum going to work with the new car”, both in 3 cuts 30”, 20”, 10”.
Broadcast for 12 weeks all tv and 4 weeks all internet (PAID).
All recorded in 1 hour. = 1 BSF
The exposed product is still one: the new Xyz. Hence the right fees will be calculated only once.
If negotiated simultaneously the cheapest element (in this case internet) is discounted by 50%
TV Usage fees = 400% first week + (11 x 80% each week= 880%) = 1280%
Internet fees (time) 40% x 4 weeks = 160% / 2 (discount) = 80%
Usage rights total = 1360% of the BSF.
Example 2
A campaign for the automotive brand Acme and their new electric cars. 3 products (model Xyz electric, Coupé Sport Yzx electric and Suv Zyx electric), 1
subject and 3 cuts for each product.
4 Weeks on all TV and one year all internet (PAID).
In this case the products (and their targets) are different, so, while the BSF is only determined by the number of hours at the microphone, the usage fees
must be applied 3 times.
If negotiated simultaneously the cheapest element (in this case TV) is discounted by 50%
TV usage fees 400 (first week) +(3x80 each week)=640% / 2 (discount) = 320%
Internet PAID fees (1 year) = 1500%
Usage rights per subject 1820%
Total usage rights of the campaign 1820 x 3 = 5460%
Example 3
A campaign for the automotive brand Acme and the 20% December sales, articulated in 4 subjects for 4 different car models, each subject in 2 cuts.
Broadcast for 2 weeks, all TV + client facebook and website pages (NON PAID).
Recorded in 2 hours. = BSF x 2
Whilst the products and the subjects are different, the main goal of the campaign is the discounted promotion, also demonstrated by the limited on-air
time. Usage rights calculated only once.
If negotiated simultaneously the cheapest element (in this case internet) is discounted by 50%
TV Usage fees = 400% + 80% (first and second week) = 480%
Internet NON PAID 200% / 2 (discount) = 100%
Usage rights total = 580% of the BSF.
DEFINITIONS:: - NTW Network: national coverage, or all the biggest urban areas.
CHANNEL GROUP: - Company that manages several networks. Each group includes the programming on their own OTTVs. For OTTV definition see the internet section.
Over A Year: - Period of 12 months since the first date of programming.
Single region or Limited Target TV Programming in a limited portion of the Italian territory or network with a distinctive “niche” audience.
NON COMMERCIAL PURPOSES: - Recording sessions for non commercial use are for ADRs, dubbing movies, tv series, voiceovers for interviews, tv documentaries, tv programmes and forms of communication NOT concerning brands and their products or services. Podcasts of general interests are included in this category.
DURATION: - Recording sessions for non commercial use usually last from 1 up to 3 hours. For special reasons these can be extended to the 4th hour, if agreed with the talent.
RECORDING FEES: - Each session is calculated as: the 1st hour at 100% BSF, then 2nd, 3rd (and the potential 4th) each at 50% of the BSF. If another session, technically possible and agreed by the talent, takes place the same day, the calculation of the fees starts again. In other words, 5 hours at the microphone result in 2 hours at 100% of the BSF and 3 at 50% of the BSF; 6 hours at the microphone as 2 at 100% and 4 at 50%; 7 hours as 2 at 100% and 5 at 50%; 8 hours as 2 at 100% and 6 at 50%.
BSF: Low £190,00 - Average £220,00 - High 250,00
NO USAGE FEES: - Generally speaking, usage fees aren’t requested for these recordings.
COMMERCIAL PURPOSES: - Recording sessions for commercial use are about any form of communication concerning brands, products, services, either advertising them directly (on tv, radio and the Internet) or through brand awareness videos, corporate recordings, communication to customers and to work force. Podcast either sponsored or commissioned by a brand are included in this category. These forms of communication can be public or internal; the usage fees are calculated accordingly.
DURATION: - Recording sessions for commercial / branded products don’t have a mandatory duration, but 1 hour BSF has to be always considered as minimum.
RECORDING FEES: - Recording fees are multiples of the BSF, starting from 1 hour. BSF: Low £190,00 - Average £220,00 - High 250,00
USAGE FEES: - For all the commercial / branded purposes usage fees might vary considerably according to their usage, destinations and media, as illustrated in the following pages of this guideline.
NOTES
NET FEES: - All the rates, resulting from the percentages herewith illustrated, are intended as net fees paid to the talents. Based on an average BSF, they correspond to the minimum rates granted to Italian VO talents on the Italian territory, however each talent has the right to negotiate personal fees when particular cases occur.
CREDITS: - It is in the rights of the talents asking to be credited in the final titles; it is also common (and not considered a breach of any agreements) for talents to mention their roles, once they are in the public domain.
Campaign Organized course of action to promote a product.
Product Core of the campaign and its target. It could be a physical product, a service, an action or a brand. It is “what is advertised”.
Subject It could be recapped as “the title of the movie” (title of the clip) that identifies script, scenes, actors and synopsis. A subject might be broadcast in different cuts and a campaign might be composed by different subjects of the same product or different subjects for different products.
Cuts Each version of the same subject, having shorter or longer duration, to reach the same final aim. Cuts traditionally are 5, 7, 10, 15, 20, 30, 45, 60 seconds long on TV/Cinema/Radio and sometimes different on the Internet.
How To Read and Calculate TV Rights
Channels / Groups / All TV. They are “all inclusive” solutions for a single week or multiple weeks across all the screens in Italy. Their price is not cheap but less than buying several channels and groups. There might be exceptions when the campaign is specifically broadcast only on one or two channels: in this case there’s a section for 1 or 2 networks. When a campaign is broadcast by multiple networks owned or traded by a single group, such as SKY, there are dedicated prices. Generally speaking, when a campaign concerns more than 2 groups, the ALL TV configuration is cheaper and simpler. The price is also determined by the number of weeks, the first week being the more expensive and then adding the second figure for each additional week. If a campaign is 8 weeks we will determine the rights as: first week + (7 x additional weeks).
The cap fee is represented by 24 weeks (almost six months), at which point the yearly figure has to be considered.
How To Read and Calculate Radio Rights
Similar to TV but without groups. Prices are determined by the number of national radios broadcasting the campaign with a cap of 8 stations, before ALL Radio is considered. The criteria about the duration of the campaign is exactly as the tv: first week and each additional week with a maximum of 24 which grants the rights for 1 year.
How To Calculate Internet Fees by time
Internet is the only “media” that can be calculated in 2 ways: traditionally in weeks, or knowing the number of impressions contracted by the client with all the platforms such as Google/YouTube, Meta (fb and instagram) and so on. Since the campaigns on the internet are often tailored on their audiences, each week is the same price, different from tv and radio. The cap is 37 weeks, then the annual rate has to be considered.
If it’s impossible to have precise impressions, a considerable discount could be granted when the communication is targeting a limited audience, that could be either a city or a specific niche of the population. In each case the impressions system is more proportioned to the cost that the client is facing.
How to Calculate Internet Fees by Impressions
0.04% for each thousand impressions. So if the campaign has a declared paid target of 30 million impressions, first you have to determine how many k impressions: simply 30,000k. At this point you can multiply 30,000 x 0.04 = 1200. 1200% of the BSF is the usage fee for 30 million internet impressions.
50% Discount for Media Combinations
This rate card has 3 different sections dedicated to commercials. TV (which includes also screens such as cinema and public events) Radio (that is FM, DAB and CC radios) and Internet (including streaming tv, streaming music and internet radio). Campaigns across more sections, negotiated simultaneously, benefit from a 50% discount of the cheapest section among 2 or 3. It is important to remember that if a campaign is negotiated, for
instance, only for tv and the campaign is extend later in the year involving another media, the combination does not apply.
BSF and USAGE FEES calculated per campaign and not per cuts
Time is the only criteria at the base of the BSF and it is the same no matter how many scripts a talent can read (with a consideration for the average human limits, obviously).
For the determination of the usage fees instead, the number of scripts (as a result of several cuts, several subjects or both) might or might not be a factor. Different cuts and subjects are still considered as a whole as long as they basically promote the same product or service of the advertising campaign.
Therefore, in all those cases it is crucial to ascertain “the core” of the campaign, that ultimately relates to the rights calculation.
How to consider the “subjects”
Example 1
A campaign for the automotive brand Acme and the introduction of their new model Xyz, articulated in 2 subjects “dad picking the boys up with the new
car” and “mum going to work with the new car”, both in 3 cuts 30”, 20”, 10”.
Broadcast for 12 weeks all tv and 4 weeks all internet (PAID).
All recorded in 1 hour. = 1 BSF
The exposed product is still one: the new Xyz. Hence the right fees will be calculated only once.
If negotiated simultaneously the cheapest element (in this case internet) is discounted by 50%
TV Usage fees = 400% first week + (11 x 80% each week= 880%) = 1280%
Internet fees (time) 40% x 4 weeks = 160% / 2 (discount) = 80%
Usage rights total = 1360% of the BSF.
Example 2
A campaign for the automotive brand Acme and their new electric cars. 3 products (model Xyz electric, Coupé Sport Yzx electric and Suv Zyx electric), 1
subject and 3 cuts for each product.
4 Weeks on all TV and one year all internet (PAID).
In this case the products (and their targets) are different, so, while the BSF is only determined by the number of hours at the microphone, the usage fees
must be applied 3 times.
If negotiated simultaneously the cheapest element (in this case TV) is discounted by 50%
TV usage fees 400 (first week) +(3x80 each week)=640% / 2 (discount) = 320%
Internet PAID fees (1 year) = 1500%
Usage rights per subject 1820%
Total usage rights of the campaign 1820 x 3 = 5460%
Example 3
A campaign for the automotive brand Acme and the 20% December sales, articulated in 4 subjects for 4 different car models, each subject in 2 cuts.
Broadcast for 2 weeks, all TV + client facebook and website pages (NON PAID).
Recorded in 2 hours. = BSF x 2
Whilst the products and the subjects are different, the main goal of the campaign is the discounted promotion, also demonstrated by the limited on-air
time. Usage rights calculated only once.
If negotiated simultaneously the cheapest element (in this case internet) is discounted by 50%
TV Usage fees = 400% + 80% (first and second week) = 480%
Internet NON PAID 200% / 2 (discount) = 100%
Usage rights total = 580% of the BSF.
DEFINITIONS:: - NTW Network: national coverage, or all the biggest urban areas.
CHANNEL GROUP: - Company that manages several networks. Each group includes the programming on their own OTTVs. For OTTV definition see the internet section.
Over A Year: - Period of 12 months since the first date of programming.
Single region or Limited Target TV Programming in a limited portion of the Italian territory or network with a distinctive “niche” audience.
NON COMMERCIAL PURPOSES: - Recording sessions for non commercial use are for ADRs, dubbing movies, tv series, voiceovers for interviews, tv documentaries, tv programmes and forms of communication NOT concerning brands and their products or services. Podcasts of general interests are included in this category.
DURATION: - Recording sessions for non commercial use usually last from 1 up to 3 hours. For special reasons these can be extended to the 4th hour, if agreed with the talent.
RECORDING FEES: - Each session is calculated as: the 1st hour at 100% BSF, then 2nd, 3rd (and the potential 4th) each at 50% of the BSF. If another session, technically possible and agreed by the talent, takes place the same day, the calculation of the fees starts again. In other words, 5 hours at the microphone result in 2 hours at 100% of the BSF and 3 at 50% of the BSF; 6 hours at the microphone as 2 at 100% and 4 at 50%; 7 hours as 2 at 100% and 5 at 50%; 8 hours as 2 at 100% and 6 at 50%.
BSF: Low £190,00 - Average £220,00 - High 250,00
NO USAGE FEES: - Generally speaking, usage fees aren’t requested for these recordings.
COMMERCIAL PURPOSES: - Recording sessions for commercial use are about any form of communication concerning brands, products, services, either advertising them directly (on tv, radio and the Internet) or through brand awareness videos, corporate recordings, communication to customers and to work force. Podcast either sponsored or commissioned by a brand are included in this category. These forms of communication can be public or internal; the usage fees are calculated accordingly.
DURATION: - Recording sessions for commercial / branded products don’t have a mandatory duration, but 1 hour BSF has to be always considered as minimum.
RECORDING FEES: - Recording fees are multiples of the BSF, starting from 1 hour. BSF: Low £190,00 - Average £220,00 - High 250,00
USAGE FEES: - For all the commercial / branded purposes usage fees might vary considerably according to their usage, destinations and media, as illustrated in the following pages of this guideline.
NOTES
NET FEES: - All the rates, resulting from the percentages herewith illustrated, are intended as net fees paid to the talents. Based on an average BSF, they correspond to the minimum rates granted to Italian VO talents on the Italian territory, however each talent has the right to negotiate personal fees when particular cases occur.
CREDITS: - It is in the rights of the talents asking to be credited in the final titles; it is also common (and not considered a breach of any agreements) for talents to mention their roles, once they are in the public domain.
Campaign Organized course of action to promote a product.
Product Core of the campaign and its target. It could be a physical product, a service, an action or a brand. It is “what is advertised”.
Subject It could be recapped as “the title of the movie” (title of the clip) that identifies script, scenes, actors and synopsis. A subject might be broadcast in different cuts and a campaign might be composed by different subjects of the same product or different subjects for different products.
Cuts Each version of the same subject, having shorter or longer duration, to reach the same final aim. Cuts traditionally are 5, 7, 10, 15, 20, 30, 45, 60 seconds long on TV/Cinema/Radio and sometimes different on the Internet.
How To Read and Calculate TV Rights
Channels / Groups / All TV. They are “all inclusive” solutions for a single week or multiple weeks across all the screens in Italy. Their price is not cheap but less than buying several channels and groups. There might be exceptions when the campaign is specifically broadcast only on one or two channels: in this case there’s a section for 1 or 2 networks. When a campaign is broadcast by multiple networks owned or traded by a single group, such as SKY, there are dedicated prices. Generally speaking, when a campaign concerns more than 2 groups, the ALL TV configuration is cheaper and simpler. The price is also determined by the number of weeks, the first week being the more expensive and then adding the second figure for each additional week. If a campaign is 8 weeks we will determine the rights as: first week + (7 x additional weeks).
The cap fee is represented by 24 weeks (almost six months), at which point the yearly figure has to be considered.
How To Read and Calculate Radio Rights
Similar to TV but without groups. Prices are determined by the number of national radios broadcasting the campaign with a cap of 8 stations, before ALL Radio is considered. The criteria about the duration of the campaign is exactly as the tv: first week and each additional week with a maximum of 24 which grants the rights for 1 year.
How To Calculate Internet Fees by time
Internet is the only “media” that can be calculated in 2 ways: traditionally in weeks, or knowing the number of impressions contracted by the client with all the platforms such as Google/YouTube, Meta (fb and instagram) and so on. Since the campaigns on the internet are often tailored on their audiences, each week is the same price, different from tv and radio. The cap is 37 weeks, then the annual rate has to be considered.
If it’s impossible to have precise impressions, a considerable discount could be granted when the communication is targeting a limited audience, that could be either a city or a specific niche of the population. In each case the impressions system is more proportioned to the cost that the client is facing.
How to Calculate Internet Fees by Impressions
0.04% for each thousand impressions. So if the campaign has a declared paid target of 30 million impressions, first you have to determine how many k impressions: simply 30,000k. At this point you can multiply 30,000 x 0.04 = 1200. 1200% of the BSF is the usage fee for 30 million internet impressions.
50% Discount for Media Combinations
This rate card has 3 different sections dedicated to commercials. TV (which includes also screens such as cinema and public events) Radio (that is FM, DAB and CC radios) and Internet (including streaming tv, streaming music and internet radio). Campaigns across more sections, negotiated simultaneously, benefit from a 50% discount of the cheapest section among 2 or 3. It is important to remember that if a campaign is negotiated, for
instance, only for tv and the campaign is extend later in the year involving another media, the combination does not apply.
BSF and USAGE FEES calculated per campaign and not per cuts
Time is the only criteria at the base of the BSF and it is the same no matter how many scripts a talent can read (with a consideration for the average human limits, obviously).
For the determination of the usage fees instead, the number of scripts (as a result of several cuts, several subjects or both) might or might not be a factor. Different cuts and subjects are still considered as a whole as long as they basically promote the same product or service of the advertising campaign.
Therefore, in all those cases it is crucial to ascertain “the core” of the campaign, that ultimately relates to the rights calculation.
How to consider the “subjects”
Example 1
A campaign for the automotive brand Acme and the introduction of their new model Xyz, articulated in 2 subjects “dad picking the boys up with the new
car” and “mum going to work with the new car”, both in 3 cuts 30”, 20”, 10”.
Broadcast for 12 weeks all tv and 4 weeks all internet (PAID).
All recorded in 1 hour. = 1 BSF
The exposed product is still one: the new Xyz. Hence the right fees will be calculated only once.
If negotiated simultaneously the cheapest element (in this case internet) is discounted by 50%
TV Usage fees = 400% first week + (11 x 80% each week= 880%) = 1280%
Internet fees (time) 40% x 4 weeks = 160% / 2 (discount) = 80%
Usage rights total = 1360% of the BSF.
Example 2
A campaign for the automotive brand Acme and their new electric cars. 3 products (model Xyz electric, Coupé Sport Yzx electric and Suv Zyx electric), 1
subject and 3 cuts for each product.
4 Weeks on all TV and one year all internet (PAID).
In this case the products (and their targets) are different, so, while the BSF is only determined by the number of hours at the microphone, the usage fees
must be applied 3 times.
If negotiated simultaneously the cheapest element (in this case TV) is discounted by 50%
TV usage fees 400 (first week) +(3x80 each week)=640% / 2 (discount) = 320%
Internet PAID fees (1 year) = 1500%
Usage rights per subject 1820%
Total usage rights of the campaign 1820 x 3 = 5460%
Example 3
A campaign for the automotive brand Acme and the 20% December sales, articulated in 4 subjects for 4 different car models, each subject in 2 cuts.
Broadcast for 2 weeks, all TV + client facebook and website pages (NON PAID).
Recorded in 2 hours. = BSF x 2
Whilst the products and the subjects are different, the main goal of the campaign is the discounted promotion, also demonstrated by the limited on-air
time. Usage rights calculated only once.
If negotiated simultaneously the cheapest element (in this case internet) is discounted by 50%
TV Usage fees = 400% + 80% (first and second week) = 480%
Internet NON PAID 200% / 2 (discount) = 100%
Usage rights total = 580% of the BSF.
**Typical Current Actual Market Rates: The rates specified in these tables are those generally commanded in the UK by working voiceover artists. Of course any voiceover artist can charge anything they want – and should do so - but we have surveyed and found that this range is what voiceover artists typically charge. Accordingly, these rates may not be indicative of those charged by very established or well-known artists through their agents who can generally charge more. In those instances, fees are always agreed by negotiation and are subject to many variables. Also, lesser known artists may charge less in order to establish themselves or to build a reputation. We have tried to cover a typical spread of what the industry normally charges, even though any specific instance may vary from our Typical Low/Typical Average/Typical Upper classifications.
A Note from GFTB on Rates: Please note that this rate guide is intended to be a guide for current industry rates charged in general by UK Voice Artists, and is not intended to imply that these rates are fixed, or set - they are not. As a voice artist you must make your choice as to what you charge (unless you are a member of a union and then please refer to their policies), but please do be aware that what you charge as a voice artist also affects other voice artists in the industry. If you as a voice artist want to charge much more, or much less than these rates you are freely within your rights to do so.
**Typical Current Actual Market Rates: The rates specified in these tables are those generally commanded in the US by working voiceover artists. Of course any voiceover artist can charge anything they want – and should do so - but we have surveyed and found that this range is what voiceover artists typically charge. Accordingly, these rates may not be indicative of those charged by very established or well-known artists through their agents who can generally charge more. In those instances, fees are always agreed by negotiation and are subject to many variables. Also, lesser known artists may charge less in order to establish themselves or to build a reputation. We have tried to cover a typical spread of what the industry normally charges, even though any specific instance may vary from our Typical Low/Typical Average/Typical Upper classifications.
A Note from GFTB on Rates: Please note that this rate guide is intended to be a guide for current industry rates charged in general by US Voice Artists, and is not intended to imply that these rates are fixed, or set - they are not. As a voice artist you must make your choice as to what you charge (unless you are a member of a union and then please refer to their policies), but please do be aware that what you charge as a voice artist also affects other voice artists in the industry. If you as a voice artist want to charge much more, or much less than these rates you are freely within your rights to do so.
**Tarifas Promedio del Mercado Actual: Las tarifas especificadas en estas tablas son aquellas generalmente establecidas por locutores que trabajan en México. Cualquier locutor puede por supuesto cobrar lo que quiera y debe hacerlo, pero hemos analizado y encontramos que este rango es lo que los locutores suelen cobrar. En consecuencia, estas tarifas pueden no ser indicativas de lo que cobran locutores bien establecidos a través de sus agentes, quienes generalmente pueden cotizar más alto. En esos casos, las tarifas siempre se acuerdan mediante la negociación y están sujetas a muchas variables. Los locutores menos conocidos pueden cobrar menos para establecerse o para crear una reputación. Hemos tratado de mostrar un rango que normalmente se cobra en la industria, aunque cualquier rubro específico puede variar de nuestras clasificaciones Bajo / Promedio / Alto.
A Note from GFTB on Rates: Please note that this rate guide is intended to be a guide for current industry rates charged in general by Canadian voice artists, and is not intended to imply that these rates are fixed, or set - they are not. As a voice artist you must make your choice as to what you charge (unless you are a member of the ACTRA union and then please refer to their policies), but please do be aware that what you charge as a voice artist also affects other voice artists in the industry. If you as a voice artist want to charge much more, or much less than these rates you are freely within your rights to do so.
**Typical Current Actual Market Rates: The rates specified in these tables are those generally commanded in all Arabic speaking countries in the MENA Region by working voiceover artists. Of course, any voiceover artist can charge anything they want – and should do so - but we have surveyed and found that this range is what voiceover artists typically charge. Accordingly, these rates may not be indicative of those charged by very established or well-known artists through their agents who can generally charge more. In those instances, fees are always agreed by negotiation and are subject to many variables. Also, lesser known artists may charge less in order to establish themselves or to build a reputation. We have tried to cover a typical spread of what the industry normally charges, even though any specific instance may vary from our Typical Low/Typical Average/Typical Upper classifications.
A Note from GFTBA on Rates: Please note that this rate guide is intended to be a guide for current industry rates charged in general by voice artists in All Arabic speaking countries in the MENA Region, and is not intended to imply that these rates are fixed, or set - they are not. As a voice artist you must make your choice as to what you charge, but please do be aware that what you charge as a voice artist also affects other voice artists in the industry. If you as a voice artist want to charge much more, or much less than these rates you are freely within your rights to do so.
A Note from GFTB on Rates: Please note that this rate guide is intended to be a guide for current industry rates charged in general by New Zealand Voice Artists, and is not intended to imply that these rates are fixed, or set - they are not. As a voice artist you must make your choice as to what you charge but please do be aware that what you charge as a voice artist also affects other voice artists in the industry. If you as a voice artist want to charge much more, or much less than these rates you are freely within your rights to do so.
A Note from GFTB on Rates: Please note that this rate guide is intended to be a guide for current industry rates charged in general by AUSTRALIAN Voice Artists, and is not intended to imply that these rates are fixed, or set - they are not. As a voice artist you must make your choice as to what you charge but please do be aware that what you charge as a voice artist also affects other voice artists in the industry. If you as a voice artist want to charge much more, or much less than these rates you are freely within your rights to do so.
أسعار السوق الفعلية الحالية النموذجية: الأسعار المحددة في هذه الجداول هي تلك التي يتم تقاضيها بشكل عام في جمهورية مصر العربية من قبل فناني التعليق الصوتي العاملين. بالطبع يمكن لأي فنان تعليق صوتي طلب أي مقابل يراه مناسباً - ويجب أن يفعل ذلك - لكننا أجرينا استطلاعاً ووجدنا أن هذا النطاق هو ما يتقاضاه فنانو التعليق الصوتي عادةً.
ووَفقاً لذلك ، قد لا تكون هذه الأتعاب والأسعار مؤشراً لما يتقاضاه الفنانون المعروفون أو الممثلون المشهورون الذين يمكنهم عموماً طلب أتعاب أكبر من هذه بكثير.
أيضاً ، قد يتقاضى المعلقون الصوتيون الأقل خبرة أتعاباً أقل من أجل إثبات أنفسهم، أو بناء سيرة ذاتية قوية في التعليق الصوتي. لقد حاولنا توفير متوسط أتعاب وأسعار ما تفرضه الصناعة عادةً، على الرغم من أنه يوجد بعض الحالات التي قد تختلف عن تصنيفاتنا النموذجية الأدنى المعتاد / المتوسط المعتاد / الأعلى المعتاد.
ملاحظة من GFTB حول الأتعاب والأسعار: يرجى ملاحظة أن دليل الأتعاب والأسعار هذا يهدف إلى أن يكون دليلاً لأسعار الصناعة الحالية التي يتقاضاها المعلقون الصوتيون المصريون والعرب بشكل عام، ولا يُقصد به الإيحاء بأن هذه الأسعار ثابتة أو محددة - فهي ليست كذلك.
بصفتك معلقاً صوتياً، يجب أن تختار ما تتقاضاه (ما لم تكن عضواً في نقابة) ولكن يرجى الانتباه إلى أن ما تتقاضاه كمعلق صوتي يؤثر أيضاً على المعلقين الصوتيين الآخرين في الصناعة. إذا كنت كمعلق صوتي تريد طلب أتعاب أكبر بكثير، أو أقل بكثير من هذه الأتعاب، فلك مطلق الحرية ..وهذا يخصك أنت فقط.
Una Nota del GFTB Sobre las Tarifas: Ten en cuenta que esta guía de tarifas pretende solamente ser una referencia para las tarifas actuales de la industria y establecen lo que cobran en general los locutores en República Dominicana. De ninguna manera se pretende implicar que estas tarifas sean fijas o establecidas, no lo son. Como locutor, debes elegir lo que cobras (a menos que seas miembro de un sindicato y deberás consultar sus políticas y tarifarios). Ten en cuenta que lo que cobras como locutor también afecta a otros artistas y locutores en la industria. Si tú, como artista de la voz, deseas cobrar mucho más, o mucho menos que estas tarifas, estás en libertad de hacerlo y dentro de tu derecho.
Una Nota del GFTB Sobre las Tarifas: Ten en cuenta que esta guía de tarifas pretende solamente ser una referencia para las tarifas actuales de la industria y establecen lo que cobran en general los locutores en México. De ninguna manera se pretende implicar que estas tarifas sean fijas o establecidas, no lo son. Como locutor, debes elegir lo que cobras (a menos que seas miembro de un sindicato y deberás consultar sus políticas y tarifarios). Ten en cuenta que lo que cobras como locutor también afecta a otros artistas y locutores en la industria. Si tú, como artista de la voz, deseas cobrar mucho más, o mucho menos que estas tarifas, estás en libertad de hacerlo y dentro de tu derecho.
Una Nota del GFTB Sobre las Tarifas: Ten en cuenta que esta guía de tarifas pretende solamente ser una referencia para las tarifas actuales de la industria y establecen lo que cobran en general los locutores en Uruguay. De ninguna manera se pretende implicar que estas tarifas sean fijas o establecidas, no lo son. Como locutor, debes elegir lo que cobras (a menos que seas miembro de un sindicato y deberás consultar sus políticas y tarifarios). Ten en cuenta que lo que cobras como locutor también afecta a otros artistas y locutores en la industria. Si tú, como artista de la voz, deseas cobrar mucho más, o mucho menos que estas tarifas, estás en libertad de hacerlo y dentro de tu derecho.
Una Nota del GFTB Sobre las Tarifas: Ten en cuenta que esta guía de tarifas pretende solamente ser una referencia para las tarifas actuales de la industria y establecen lo que cobran en general los locutores en Repúclica Dominicana. De ninguna manera se pretende implicar que estas tarifas sean fijas o establecidas, no lo son. Como locutor, debes elegir lo que cobras (a menos que seas miembro de un sindicato y deberás consultar sus políticas y tarifarios). Ten en cuenta que lo que cobras como locutor también afecta a otros artistas y locutores en la industria. Si tú, como artista de la voz, deseas cobrar mucho más, o mucho menos que estas tarifas, estás en libertad de hacerlo y dentro de tu derecho.
Una Nota del GFTB Sobre las Tarifas: Ten en cuenta que esta guía de tarifas pretende solamente ser una referencia para las tarifas actuales de la industria y establecen lo que cobran en general los locutores en México. De ninguna manera se pretende implicar que estas tarifas sean fijas o establecidas, no lo son. Como locutor, debes elegir lo que cobras (a menos que seas miembro de un sindicato y deberás consultar sus políticas y tarifarios). Ten en cuenta que lo que cobras como locutor también afecta a otros artistas y locutores en la industria. Si tú, como artista de la voz, deseas cobrar mucho más, o mucho menos que estas tarifas, estás en libertad de hacerlo y dentro de tu derecho.
Una Nota del GFTB Sobre las Tarifas: Ten en cuenta que esta guía de tarifas pretende solamente ser una referencia para las tarifas actuales de la industria y establecen lo que cobran en general los locutores en Ecuador. De ninguna manera se pretende implicar que estas tarifas sean fijas o establecidas, no lo son. Como locutor, debes elegir lo que cobras (a menos que seas miembro de un sindicato y deberás consultar sus políticas y tarifarios). Ten en cuenta que lo que cobras como locutor también afecta a otros artistas y locutores en la industria. Si tú, como artista de la voz, deseas cobrar mucho más, o mucho menos que estas tarifas, estás en libertad de hacerlo y dentro de tu derecho.
** Tasas de mercado reales actuales típicas: las tasas especificadas en estas tablas son las que generalmente usan en España los locutores que trabajan en off. Por supuesto, cualquier artista de voz en off puede cobrar lo que quiera, y debería hacerlo, pero hemos realizado una encuesta y hemos descubierto que este rango es lo que suelen cobrar los artistas de voz en off. En consecuencia, estas tarifas pueden no ser indicativas de las cobradas por artistas muy establecidos o conocidos a través de sus agentes, que podrían cobrar más. En esos casos, las tarifas siempre se acuerdan mediante negociación y están sujetas a muchas variables. Además, los artistas menos conocidos pueden cobrar menos para establecerse o construir una reputación. Hemos tratado de cubrir un margen típico de lo que normalmente cobra la industria, aunque cualquier instancia específica puede variar de nuestras clasificaciones Típico Bajo / Promedio Típico / Típico Alto.
Una nota de GFTB sobre las tarifas: tenga en cuenta que esta guía de tarifas está destinada a ser una guía para las tarifas actuales de la industria cobradas en general por los artistas de voz de toda España, y no pretende implicar que estas tarifas sean fijas o establecidas, no lo son. Como locutor, debe tomar una decisión sobre lo que cobra (a menos que sea miembro de un sindicato y luego consulte sus políticas), pero tenga en cuenta que lo que cobra como locutor también afecta a otros locutores en la industria. Si usted, como locutor, quiere cobrar mucho más o mucho menos que estas tarifas, está en su derecho de hacerlo.
*Valores Típicos do Mercado Atual: Os números especificados neste guia são valores geralmente praticados por profissionais da voz ativos e atuantes no Brasil. É claro que qualquer locutor pode cobrar o que quiser - e deve fazê-lo - mas fizemos uma pesquisa e descobrimos que estes são os valores que locutores profissionais costumam cobrar. Assim, esses valores podem não ser indicativos de preços cobrados por artistas de voz muito bem estabelecidos ou conhecidos, que geralmente cobram mais. Nesses casos, valores são sempre negociados e estão sujeitos a muitas variáveis. Por outro lado, pode ser que locutores iniciantes cobrem menos para poderem se estabelecer no mercado ou para construir uma reputação. Tentamos cobrir essa variação típica que o mercado geralmente cobra, embora existam casos específicos que se diferenciam dos nossos valores e classificações Baixo / Médio / Alto. | |||||
Uma observação da plataforma GFTB sobre os valores: note que este guia de valores se destina a ser uma referência de valores praticados por profissionais da voz em geral no Brasil, e não tem a intenção de sugerir que esses valores sejam fixos ou definidos - não são. Como locutor, você deve cobrar o que acha justo, porém esteja ciente que o valor que você cobra como locutor também afeta outros locutores na indústria. Se você, como locutor, deseja cobrar muito mais ou menos do que esses valores, você está no seu direito de fazê-lo. |
Una Nota del GFTB Sobre las Tarifas: Ten en cuenta que esta guía de tarifas pretende solamente ser una referencia para las tarifas actuales de la industria y establecen lo que cobran en general los locutores en Perú. De ninguna manera se pretende implicar que estas tarifas sean fijas o establecidas, no lo son. Como locutor, debes elegir lo que cobras (a menos que seas miembro de un sindicato y deberás consultar sus políticas y tarifarios). Ten en cuenta que lo que cobras como locutor también afecta a otros artistas y locutores en la industria. Si tú, como artista de la voz, deseas cobrar mucho más, o mucho menos que estas tarifas, estás en libertad de hacerlo y dentro de tu derecho. | |||||
| 1. Derecho de uso de las locuciones publicitarias: Broadcast y non-broadcast, exclusivo para uso nacional con vigencia por doce meses calendarios a partir de la fecha de su emisión, pasado este tiempo, se considera un nuevo año del servicio, previo pago del 100% de la tarifa vigente y bajo las mismas condiciones. Asimismo, los precios sonpor pieza, por guión y por motivo. 2. Exclusividad: Las tarifas están basadas en prestación de servicios con caducidad anual (365 días), por tanto, las condiciones por exclusividad quedan a tratar entre el talento y la empresa contratante. 3. Cambios de texto: a) Después de los 8 días de grabado y antes de salir al aire, se considerará el pago del 50% de la tarifa vigente por concepto de modificación de texto, b) Cambios de texto en comerciales salidos al aire, se considerarán como una nueva locución y al 100% de la tarifa vigente. 4. Cambio de Imagen, Medio o reducción de texto: Las locuciones efectuadas para un comercial determinado podrán ser usadas en otra imagen, otro medio o en la reducción del mismo comercial, previo pago del 100% de la tarifa vigente para cada pieza adicional. 5. Regrabación de locución: Sin costo en caso sea un error del locutor o cambios dentro de los 7 días calendario. 6. Comerciales para el extranjero: Toda locución grabada para Perú podrá ser usada en el extranjero cumpliendo con el pago del 100% de la tarifa ya establecida en la categoría Publicidad, comerciales para el extranjero y por país de emisión. 7. Forma de pago: Para Perú en dólares o soles al tipo de cambio del día de cancelación, incluye el 8% por emisión de Recibo por honorarios mas no el 18% de IGV en caso de entregar factura. Para pagos del extranjero se trabajará con la tarifa establecida. La factura o recibo por honorarios debe ser cancelada a los 30 días de emitida. La orden de servicio debe ser generada dentro de los 15 días de realizada la grabación. 8. No incluye los servicios de grabación y edición de los audios. Cada locutor negociará el precio por hora de estudio de grabación. |
A Note from GFTB on Rates: Please note that this rate guide is intended to be a guide for current industry rates charged in general by UK Voice Artists, and is not intended to imply that these rates are fixed, or set - they are not. As a voice artist you must make your choice as to what you charge (unless you are a member of a union and then please refer to their policies), but please do be aware that what you charge as a voice artist also affects other voice artists in the industry. If you as a voice artist want to charge much more, or much less than these rates you are freely within your rights to do so.
A Note from GFTB on Rates: Please note that this rate guide is intended to be a guide for current industry rates charged in general by UK Voice Artists, and is not intended to imply that these rates are fixed, or set - they are not. As a voice artist you must make your choice as to what you charge (unless you are a member of a union and then please refer to their policies), but please do be aware that what you charge as a voice artist also affects other voice artists in the industry. If you as a voice artist want to charge much more, or much less than these rates you are freely within your rights to do so.
A Note from GFTB on Rates: Please note that this rate guide is intended to be a guide for current industry rates charged in general by UK Voice Artists, and is not intended to imply that these rates are fixed, or set - they are not. As a voice artist you must make your choice as to what you charge (unless you are a member of a union and then please refer to their policies), but please do be aware that what you charge as a voice artist also affects other voice artists in the industry. If you as a voice artist want to charge much more, or much less than these rates you are freely within your rights to do so.
A Note from GFTB on Rates: Please note that this rate guide is intended to be a guide for current industry rates charged in general by UK Voice Artists, and is not intended to imply that these rates are fixed, or set - they are not. As a voice artist you must make your choice as to what you charge (unless you are a member of a union and then please refer to their policies), but please do be aware that what you charge as a voice artist also affects other voice artists in the industry. If you as a voice artist want to charge much more, or much less than these rates you are freely within your rights to do so.
The following tables represent a guide to the voiceover rates typically charged by voice artists in the United States. The guide has been compiled by Gravy For The Brain and a working group of top USA VO professionals (full credits available on request) and includes the published agreed rates* of the US actors union SAG AFTRA. Note that most quotations are done through negotiation and you should not feel restricted by any upper or lower limits!
*SAG-AFTRA Agreed Minimum Rates: - Please note that these published rates from SAG-AFTRA are collectively agreed minimum rates between interested parties of that genre, and not suggested rates by the SAG-AFTRA union. For more information please visit the SAG-AFTRA Website.
**Typical Current Actual Market Rates: The rates specified in these tables are those generally commanded in the US by working voiceover artists. Of course any voiceover artist can charge anything they want – and should do so - but we have surveyed and found that this range is what voiceover artists typically charge. Accordingly, these rates may not be indicative of those charged by very established or well-known artists through their agents who can generally charge more. In those instances, fees are always agreed by negotiation and are subject to many variables. Also, lesser known artists may charge less in order to establish themselves or to build a reputation. We have tried to cover a typical spread of what the industry normally charges, even though any specific instance may vary from our Typical Low/Typical Average/Typical Upper classifications.
A Note from GFTB on Rates: Please note that this rate guide is intended to be a guide for current industry rates charged in general by US Voice Artists, and is not intended to imply that these rates are fixed, or set - they are not. As a voice artist you must make your choice as to what you charge (unless you are a member of a union and then please refer to their policies), but please do be aware that what you charge as a voice artist also affects other voice artists in the industry. If you as a voice artist want to charge much more, or much less than these rates you are freely within your rights to do so.
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