Your Craft Is More Valuable Than Just Your Time

Working under time pressure is something I’ve come to appreciate. There’s nothing like a deadline to push fast decision-making and bold creative choices. I can’t speak for the global industry, but here in Australia, the word “urgent” seems permanently attached to almost every brief. I honestly can’t recall the last time I was commissioned for a project with a generous timeline.

Take screen composition as an example. Composers are often the last people brought onto a film production. The wrap and release dates are usually locked in, no matter how many delays happen in filming or editing. That means our time gets squeezed harder than almost anyone else on the team.

Of course, this isn’t unique to composers. Graphic designers, editors, and writers all share those “eye-roll” deadline moments.

Some creatives charge a “fast-track” fee to compensate for the stress and pressure. I’ve never done this myself, but I encourage anyone who can to try. It’s only fair.

There’s also a paradox worth mentioning. Over the years, I’ve become very efficient at what I do. I can now deliver a high standard in far less time than when I started. But if I’m charging by the hour, the faster I get, the less I earn. And with AI tools now reducing both income opportunities and the hours needed to create something good, it’s never been more important to value our creativity in ways that go beyond time alone.

I’ve developed a system to help me estimate fees. While still partly time-based, it also considers the duration and complexity of the music, the project’s exposure and reach, and the type of client. For corporate jobs, it usually means a full buyout. For independent artists, I’m more flexible, structuring deals so smaller budgets are manageable up front, with residuals or royalties tied to any future success.

My fee estimates are high enough to cover the more demanding projects, while still being generous for easier ones. Over time, it evens out. More importantly, it creates a predictable structure for clients. They know what to expect, and no one ends up with an unpleasant surprise at the end.

For recording or mixing sessions, I still use an hourly rate, but I cap full production jobs whenever possible. Like many designers, I also include something like “three revisions included.” It balances out: some clients use them all, others don’t need any.

So when you’re setting a price for your creativity, let your studio hours be part of the equation, but not the whole story. Remember to factor in the years you’ve spent honing your craft, who your client is, and most importantly the impact your work will have in the wider world.