HITRECORD ON TV Ep. 5 / Profit Proposal Feedback

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Hi everyone,


As we discussed in THIS VIDEO, we will be posting replies to the community's Profit Proposal feedback for each episode of HITRECORD ON TV. The community will then have one week to review our replies and include any additional feedback. After this additional round of feedback has concluded, we will post Final Profits. In some instances feedback was already replied to in the original threads or in separate text records.


Thanks!


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RE: THE OTHER SIDE // PROFIT PROPOSAL FEEDBACK


Please provide any additional feedback on the replies below by Wednesday, April 16th - thanks!


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> HITRECORD ON TV / RE: The Other Side / Profit Proposals --- Profit Doc HERE


Purphy: I noticed that in the profit proposals, I'm credited for my record The Other Side bumper (http://www.hitrecord.org/records/1471695) under Act IV bumper but Alexandre_Pap, who created the original, isn't. But in the episode itself, he's credited for it and I'm not. All I did to his original was add text and a lighthouse effect. In the episode, I can't tell if any of the effects I added made it (outside of the text that's not mine). Also, I know I listed Alexandre_Pap's original video as a resource, but I can't even find his record on the site now.


-> @Purphy: Hi, this user had their account deleted after uploading the record that was remixed. At this time, we do not have a record to resource for their contribution and allotted the percentage for the bumper to your remix. Hope that helps clarify!


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> HITRECORD ON TV / Overview / RE: The Other Side / Profit Proposals --- Profit Doc HERE


puchie06: I have a question regarding the original video submissions. i.e. the rappers. Is there no allotment for the work done on those productions?


-> @puchie: Hi, the videos contributed by the Rappers for “Freestyle Something” are each receiving 8.82% and we feel that is a fair allocation for the verse and visual production (which would include the original edit, etc.)


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> HITRECORD ON TV / Act 1 / RE: The Other Side / Profit Proposals --- Profit Doc HERE


spaceship: Under "Stay Away", the video records, I think the amount of money allocated to Metaphorest's video footage should be higher, since she contributed footage for both instrumental and vocal parts alike. And under "Stay Away", the audio records, I think the amounts need to be recalculated, since Malicore, Metaphorest, and myself are arbitrarily receiving a lower percentage than May McDonough. If the total was divided squarely among us, we would each receive approximately $118.37. That sounds fair to me.


->@spaceship: 1) We agree. Metaphorest’s video contributions should be allocated a bit more. This will be reflected in the Final Proposals. 2) After review, we agree that this makes sense for an even distribution amongst the individual artists, as the two separate audio stem records by may mcdonough are comparable to the individual records that contain multiple instruments. This will be adjusted in the Final Profits.


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- Metaphorest: Yes thanks Spaceship! That does seem a bit off since several different videos of mine were used - two different glock angles as well as one vocal take. Why, I simply must be fairly reimbursed for my wide variety of glock angles! :) (And yep I agree re: the audio RECords too.)


-> @Metaphorest: Yup, we agree with you and @spaceship on this. Your video contributions should be allocated a bit more. This will be reflected in the Final Proposals.


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halfreal: Very excited to see my name here; but you guys listed both my monster PNG's (http://www.hitrecord.org/records/1458102 ) and the GIF Demo (http://www.hitrecord.org/records/1458104 ), which is the same material... I mean, I'd probably survive an extra twenty, but... you know.


-> @halfreal: Thanks for pointing this out! Because they are the same material, we will remove one for the Final profits.


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Tiddles: Just letting you know that 3 of my records were part of remixes but I do not believe they were visible in the final cut. So if you want to exclude them, please feel free: www.hitrecord.org/records/1451547 /www.hitrecord.org/records/1450804 / www.hitrecord.org/records/1416923


-> @Tiddles: Your honesty is very much appreciated! Those will be removed from the Final Profits. Thanks for your comment!


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rejjie: Two of my records (http://www.hitrecord.org/records/834246 and http://www.hitrecord.org/records/377890) are not resourced. They are resources in Axon Graf's "Bong Room_WIDE ANGLE" (http://www.hitrecord.org/records/1457233). Thanks.


-> @rejjie: Correct! Those resources will appear in the Final Profits.


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anybarra83: Hey guys, just FYI in regards to my visual: "RE:TRASH BAGS (PNG)" Unusual Suspects should also be listed because she was the original designer of them. All I did was color in her original illustration found here: http://www.hitrecord.org/records/1432275. Sorry, I forgot to resource her in the "png" version but she is resourced in my original REmix that I had resourced. A few notes: 1. Tillycat's skunk is listed twice; 2. The kale salad I created was not a remix, I designed and colored those but maybe I was wrong to resource Kallee because I did not actually remix anything, I was simply creating individual pieces to add to her already illustrated bowl of kale. So maybe I confused things by resourcing her. Anyway, just wanted to clarify that because it was actually my kale pieces that were seen in the final but the way it is listed here does not reflect that; and 3. I still do not understand how the % is divided up between illustrations. How do you decide who gets more (besides the obvious ones - well obvious to me. Meaning I understand why a set design would make more than a prop). Maybe I would suggest that the prop illustrations all get divided up evenly? But I am really just thinking out loud here, because although my kale salad is a "prop" it actually had a bigger role (if that makes sense).... I will keep thinking about illustration %'s and let you know what I come up with, but maybe other illustrators would like to make a suggestion regarding this.


-> @anybarra83: 1) Thanks for pointing out that resource. It will be added to the Final Profits. 2) We will remove one of the skunks in the Final Profits, as that was a mistake. 3) If you feel that Kallee’s resource was not used in any way to influence your record that appeared in the episode, then we can remove it. Please confirm that you feel it should be removed, as it was included in the Profit Proposals because it was resourced in your record. 4) Each production is unique, and each resource within the production is reviewed with regards to how it was used in the production. We do not feel that all Props in this production should be given an even distribution. Some Props are more prominent, like the girls’ bong, and that is taken into consideration when each record is being allocated a proposed percentage. We feel the individual breakdown of the Props is fair to the community in this case.


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Loddi: I'm good with this (I also know I'm very delayed). But I was also wondering why prop images numbers. Unless there's some logic to the current numbers that makes more sense, I like anybarra83's idea about equal percentages for those illustrations.


-> @Loddi: Hi, this point was addressed above to @anybarra83, but has been included as a reference here as well: Each production is unique, and each resource within the production is reviewed with regards to how it was used in the production. We do not feel that all Props in this production should be given an even distribution. Some Props are more prominent, like the girls’ bong, and that is taken into consideration when each record is being allocated a proposed percentage. We feel the individual breakdown of the Props is fair to the community in this case.


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> HITRECORD ON TV / Act 2 / RE: The Other Side / Profit Proposals --- Profit Doc HERE


MeTaL_PoU: Hi ! I'm not totally sure but i think that after the first text, joerud made some corrections, inspired by http://www.hitrecord.org/records/1373458.


-> @MeTaL_PoU: Hi, thanks for directing us to this text record. We have confirmed it was a resource for joerud’s performance and we’ll include it in the Final Profits.


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Marie Bee: Hi guys! I think the violin footage Anah used to animate me is missing from the Adieu musician footage: http://www.hitrecord.org/records/1334382. BTW, it's from the account I used last spring when there were video upload issues. Matt knows the deal. Thanks!


-> @Marie Bee: Yes, that’s right! We will add that resource in for the Final Profits.


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spaceship: Not to be a fussbudget, because I know a lot of work goes into hand-drawn animation, but there is a great discrepancy between the payouts for the animated death scenes and the original death scenes that the animations were based upon, which to me appear to be getting shortchanged. For example, Death by BBQ as animation = $281.59, while the original Death by BBQ video = $84.72. That's basically a 70/30 ratio, which seems quite lopsided to me. Perhaps a more balanced figure is in order, like 60/40, which acknowledges the work that goes into animation, but also recognizes the value of the original video contributions.


anybarra83: ….Also, I disagree with the payout being 60/40 that Spaceship is proposing, only because I feel the illustrators/animators should make more (but obviously I am biased on this particular one). Again, I do not know how to compare the mediums, but the illustrators spent many hours/days/weeks on these. So I feel that the 70/30 split is definitely fair in this scenario. p.s. I have no idea how you decide these %'s and I do not envy the person in charge of this. Just thinking about it gives me ulcers...ugh andyramone: Regarding Adieu animations, personally 70/30 feels about right to me, although I concede I was not involved in that collab. Just my 2 cents from an animator's POV and being aware of the amount of work involved in Rotoscoping those shots.


Robo_J: I disagree with the Adieu 50/50 split. The people who did the animations were credited as "illustrators" while the video clips they were animating were credited just for the clips themselves, not the work put into making them. It was well known in advance that these illustrators would be credited as the "key animators" which earns them a higher percentage of the profits. Regardless of whatever the work was done for the video clips that were animated, that's not what's being paid here - the recorded result is. And the illustrators are getting paid for sitting on their butts under a tight schedule (with a couple digital exceptions, the majority had roughly 3 weeks to HAND-DRAW nearly 100 frames each which they were individually assigned), and I feel that is more than a legitimate reasoning for them deserving a higher percentage. Basically their dedicated labor is what's being paid, while those who filmed the death scenes aren't getting paid for their labor because they weren't asked to do that - they volunteered. The key illustrators were chosen by the staff for this task, so they automatically deserve and earn a higher cut. It's like as if the person who modeled for an artist's painting wants to be paid a substantial cut of the amount the painter is getting for said sold painting… yeah, it doesn't really work like that.


anybarra83: Thank you Robo_J for taking the time to explain the process. I forgot to mention that we were on a strict deadline (it was 2 weeks) so thank you for mentioning that as well. As I have openly admitted, I am ignorant to this process of the business (and this part is definitely my least favorite part of the process). To be completely honest, the person/people who individually edited the 2000 frames for us is who deserves the highest percentage and then the key animators. Since they are not listed on here I am assuming they are paid HRHQ staff right? Out of curiousity, I know we were credited as Key Animators for the show but listed as illustrators here. I am not entirely sure if this would matter, but maybe if it said Key Animator instead of illustrator that could help with any confusion on the percentage amounts?? Again, I am really just speaking out loud as I have no clue. Also, in regards to your actor being credited, I would absolutely agree that he should be. But I noticed he is not resourced on your video and I do not see an HR profile for him…


KitchCat: We can’t really compare our own percentage to that of other episodes because we have the same amount of money divided between more contributors. I think everyone’s time and effort has been taken into consideration and the percentages have been weighted respectfully of each contribution. When you look at this piece as a whole to evaluate what makes it work and what the artistic intent and merit was, ONE of the elements specific to this piece were the aesthetics of rotoscoping which is a not only time consuming but can also be expensive in terms of artist’s materials. We ‘auditioned’ for the job and were all commissioned to do it and to commit a considerable amount of time to making it happen. Obviously no one knew what, if anything, they would be paid for contributing to this piece so percentages aside, I think the team have achieved a fair reflection of the time and effort within the structure they have set.


LaraMinerva: I totally agree to KitchCat and Robo J! And to lasrever I woud want to answer, that most of us didn't use a drawing tablet. I know that on hitrecord we are not credited for the amount of time that we spent on a piece but for the result, but since you mentioned this aspect, I really want to remind you that many of us needed longer than 20 minutes for each frame. Maybe I was especially slow, but I needed at least 40 minutes for each frame.


andyramone: Disclaimer- I animate but did not contribute to this collab. I think that 2 things should be taken into consideration, and probably have by the HR staff. 1) The final aesthetic of the music video. If the death scenes had been used without being rotoscoped, then would the video have the same impact and feel? I'd say no, and the huge amount of work put into rotoscoping by these guys contributes massively to the the piece. I'd say to the tune of about 70/30 and therefore I personally think this proposal is fair in that regard. 2) I appreciate that the original death scene videos took time, skill, and effort to make, but I could be fairly certain that not one of them had to be done over a period of 2 weeks toiling over a lightbox painstakingly recreating images over and over again. Make no bones about it, Rotoscoping (and hand drawn animation in general) is hard bloody work that takes a huge amount of time. And it also takes a huge amount of skill and talent. Obviously, filming and editing the death scenes did too, but I don't feel to the same amount as the animations. That's my gut feel, and I am in no way belting what the artists who contributed those scenes did. Either way, I hope HR will comment on this soon before it gets much further. Being frank, all of us are guessing how they have broken this down, and until they confirm why, it's a fairly pointless and circular discussion.


Carliihde: Just a quick question and a few moments to share my thoughts. I am on the list once, but I did 4 separate animations for Adieu. My name and the title of the work I did "Archive 34 frames" includes all of the animations, correct? OK done with that question... Now for the thoughts… The 4 animations I did includes one 10 second animation of regularjoe falling (this was 89 frames and each frame took about 20-25 mins to animate and color each frame) then I did 3 short animations of Peppina (16, 16 and 19 frames averaging about 15 mins per frame) I absolutely love animating and love doing the work, it's a passion of mine. After doing the math for me this was (taking the the least amount of time for everything) that's, at the least, 43 long hours of work. but the final was 100% worth it. I am so proud to have worked on this video and I'm so honored to have been chosen to be a part of it. I feel like I got paid the amount that I deserve and I thank HitRECord for enjoying my work and actually paying me to do what i love. It averages out for me at about $8.50 an hour. I would be willing to give some of my pay up if one of the death scene directors feels like they were unfairly paid. But as of now I am happy with the outcome because I know how hard all of the animators worked on this. Thank you again.


epocadofim: anybarra83 asked me to come by and look at people's comments on thoughts on the split and pay for the lead rotoscope animators. I'm experienced in live action and animated production, including both digitally hand drawn and traditionally handdrawn rotoscope, so I do have some comments on this: First of all, I see this split as completely fair for two key reasons: -Animation work of this kind and nature, rather done digitally or traditionally, takes a greater work load than shooting the same footage does. This is not to say that each individual animator "took more time" to create each individual animated section than each video contributor did, but that on average it required greater cost and effort on behalf of the animators. This is true because they needed to take on the cost of supplies necessary, the time to make each frame, and the digitalization (by scanning or original creation in the computer) to create each frame. It is no "harder" to do this with digital than traditional, they are simply different mediums for the same effect. The benefits of using digital, if available, are simply that it saves time creating each frame and assembling them, as the fabrication of a light table and scanning of each frame are eliminated as steps. It can also afford more flexibility and a cleaner look, but this requires skill in digital media and certain programs, all of which have a much higher investment cost to have access to and previous investment in skill and practice. Also, since "clean refined frames" was not a goal of this piece, it's essentially a wash. So effectively, there is no difference in skill required or effort put in, on average, between Rotoscopers like anybarra83 and others like CarliIdhe, just a difference in medium and mechanism (which is not to say that animators necessarily have equal skill or talent, but these things are harder to measure. Regardless, the animators required, on average, a skill set, materials set, and time investment no where near as accessible or fast as the video contributors had. Most people on hitrecord have access to a video camera, and most to an HD one at that, and regardless, original video quality is not as important in this case, as video quality can some what be sidestepped by the rotoscoping process. On average, a Professional live action filmmaker should be able to complete one of the individual 10 second or less scenes in adieu in 6 to 12 hours- a single average work day. On the other had, Professional Animator of equal skill and standing to our hypothetical filmmaker could only be reasonably expected to complete the workload of ten seconds of rotoscoped hand drawn animation based on fully rendered scenes in 100 hours, about two work weeks. An EXTREMELY skilled, experienced, and driven rotoscope animator could possibly complete that runtime in 50 hours, or one work week, but, from a producing perspective, it would be unreasonable to expect or ask for that level of production from anyone who did not sell themselves as having it with a resume to prove it. Now please, note, I'm not saying that the live action sections were easier to make or that everyone took less time and effort than every section of rotoscoping– obviously, I can't know that, but, I – and anyone else with professional training and expectations, trying to run a professional production company, which the staff is explicitly doing– can very reasonably and MUST very precisely be aware of the fact that they are asking for and reasonably expecting very different productivity goals and investments from their live action and animation contributors in this production. Which leads me to my second point- the nature of engagement for the work. -Adieu is fairly unique in the hitrecord on tv season for the fact that it's production was based on a two tier structure: a first tier of open-call contributors (the video contributors, in this case) and a second tier of commissioned contributors (the rotoscope animators). Now, the first tier is the typical way we contribute to hR, and is similar to festival submission in films or article/story submission to magazines and journals. Submissions are made to meet a certain category or call put out by an organization, and work is submitted by artists to fill that call with no promise of use on the part of the production and no reasonable expectation of special treatment (beyond credit, exposure, pay based on prevalence, focus, and importance to the entire project). This means that even if I know that it took me much more effort to create a still illustration than a 3 minute testimonial video, if I submit them to hR and they are used, my payment will be based on the level of use and importance they play in the final piece, not the level of work I put into them originally. This is the nature of open call, and it's how most of the work was done on hRoTV s1 in general. However, the rotoscope animators were not engaged this way, but were rather engaged in a way which, although not unique to this segment, was most prominent and prevalent for Adieu in the entire season. They were "Commissioned" by which I mean they auditioned and applied to not have work used but do a certain amount of required work with in a fixed time frame and schedule, made to a certain level of quality. This is much more like free lancing or contracting. In this case, it is both reasonable for hR to demand a certain level of productivity in a fixed time frame, and the animators to expect a higher amount of pay and credit for said work based on the requirements and assignments given to them. Now yes, some of the animators could have finished there work faster (though any assumption of a time commitement of less than 50 work hours is pretty much impossible in this case), Yes, an individual video contributor could have poured any amount of time into their video contributions, but demanding that they be paid more for their particular case of hypothetically doing an equal amount of work to– again, hypothetically– one of the animators is no more reasonable than those of us who submitted videos and animations that were not used at all compensation that we were not promised or reasonably expecting. hitRECord asked for, expected, and required a greater amount of work from the rotoscopers to adieu than it did from the video contributors, and the only fair thing to do is pay them more that use. I understand how it can feel to have put in a lot of work and see it get used less than you expected or not at all, but hitrecord and rotoscope animators, by the nature of their arrangement, invested a far greater amount of time and risk for the animation than for the live action components. The only people who could reasonably expect a higher pay out for this segment are joerud and zucherman, who are effectively the writer/star and director/lead animator for this video, and they are the only who did. On top of that, based on previous featured songs in the show, the amount being paid to the video contributors is frankly higher and closer to the average than I'd expect, considering that most of those videos are the original videos cut together and adieu is rotoscoped. They are at the most only 50% lower than what would be expected, and therefore, I have to say, completely reasonable in this case. I think the proposal should stand as is in this case. Full Disclosure: - I do still think that some of the uncredited performers in some of the original videos SHOULD be credited and compensated, splitting shares with the video uploaders, but seeing as we've already been over this in length elsewhere, I'll just mention that fact and move on. - Also, I did submit both video and a rotoscope tryouts to this collab, which, although I'm told they were among the final choices, were not used. I also contributed a lot of concepts, tests, and story board concepts to the spaces between, some of which even resemble concepts and shots in the final cut, but none of which were directly used for it, and which in that case I received no pay or credit for, a decision which, though a bit of blow to me personally based on how much time I'd put in, I do consider fair based on the circumstances and expectations I submitted the work under. So I do feel I can fairly comment with this, and I empathize with those who feel they deserve more, but I think you have recieved a fair share, and even if you still don't may I suggest asking for a little less than you are? 50/50 is unreasonable and unfair to the animators, they do deserve more for this project. KaliBali: I haven't read through all of this, but I feel the split for illustrators vs. videos for Adieu is fair. However, as stated before, I think any death videos that were a collaborative effort need to be broken down into all their contributors, not just the person who uploaded it. spaceship: To be clear, I don't suggest that we split the animation and original death scene videos 50/50, and I never did suggest that! That is pure craziness, as animation is tough, tedious, time-consuming work. What I am suggesting is a ratio that acknowledges the importance of the original death scene videos, without which the tracing would have been 100 percent impossible. Joe asked for the community to make death scene videos, then came back and asked that they only be 15 seconds long, and submitted within a deadline of a few days. This means that a given video could likely have been conceptualized, recorded, edited, and submitted, then quickly re-edited and re-submitted. I'm merely positing this so that we can take a look at both sides, not just the one side (animation) that obviously should get more $. :) TheSerpentTheCharmer: After reading through these comments, and knowing both sides of the spectrum (Video Vs. Animation), the ratio is incredibly fair. The videos are getting their justice for creativity, and I even believe the animation side isn't getting fair compensation. That's not to say the videos aren't critically important, but the transformational process into animation is a time consuming, tedious process. Actors don't get paid more because the CG team has to roto them out of footage, clean plate the images, and then re-insert them into a fake world. They get paid for their performance, which is what the video crowd is getting paid for. There needs to be an understanding between these two mediums. They are both important, but one is more skill-oriented than the other. It takes a certain kind of talent to film yourself dying, but it takes an entire world of talent to take that footage and draw every frame in a stylized manner. Everyone did a fantastic job, but the truth of the matter needs to be addressed in a realistic way. It's harder to illustrate every frame of a film than it is to film it in the first place. kouralilly: Granted I'm jumping in here, but how does one price tag an idea? It was the videoer (that's a word) who came up with the concept which was animated. I'd need to look at the other profit proposals but I do believe concept gets a heavy percentage usually. If no other reference - how much does Wirrow get for having come up with tiny stories? I think Spaceship's 70/30 breakdown is more than fair. i guess my 'how do you price tag an idea' is a bit rhetorical...i'm just saying you can't only say that one person sat at a computer for 10 hours and another sat there for 2 so lets pay this guy this much and this guy this much. i think there is more to it than that and it all needs to be taken into account. that's all. just my 2 cents for what its worth.


-> @kouralilly, @TheSerpentTheCharmer, @spaceship, @KaliBali, @epocadofim, @anybarra83, @andyramone, @Robo_J, @KitchCat, @LaraMinerva, @Carliihde: Thanks for all of your feedback on the visual elements of “Adieu,” which include the death scene / musician videos and the hand-drawn frames that were animated together. We gave a lot of thought to the breakdown of this and approached it from multiple angles to make sure we felt that everyone’s contributions were fairly represented, as this was a complex production with all different kinds of visual components. We do feel that the percentage distribution is fair with regards to the way the splits were made for each individual death scene, musician video, and the Illustrators that drew individual frames for multiple death scenes and/or musician videos.


-> @Carliihde:


Hi, regarding your question about the resourced record on the Proposal, we did want to clarify that we included one record of yours to encompass all of the work you contributed as an Illustrator on the production. Hope that clarifies!


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joerud: Hey there! This is the first time I've been featured in a profits proposal so forgive me if I'm confused about the arrangements. Though, I do know it's so important to all of us that we can be so open. So, with that in mind, as songwriter and performer of Adieu, I'm looking at the percentages and I'm not sure 15.73% as 'lead musician' really shows much value to the role of the songwriter. This hasn't been a big issue in past episodes. For example, ppeppina's crucial role in Beastly Beauty earned her 21.73% of the $9,500 (instead of Adieu's $11,000) in one RECord alone represented as 'Lyrics and Vocals'. This seems, to me, a more accurate representation of the value of the song author's contribution. Is it that there are so many contributors included in the video stage of the production that the illustrators altogether must be assigned 52.73% of the profit? I know I'm often biased as a songwriter, but in this particular instance, I'd like to think music and visuals had a somewhat more even split. Can this be amended?


Marie Bee: ...I would also like to respectfully address joerud's comment (also buried, 3rd from bottom), and say that I think he should be credited as songwriter, since he did in fact write the song. Adieu in its finished state would not have existed if it weren't for him and the song that he wrote. That being said, I also think he should receive a higher percentage. The percentage/numbers talk intimidates me, so I can't suggest a number. Just that I feel he deserves more. spaceship: I second Marie re: the invaluable importance of joerud's songwriting contribution, and by invaluable, I mean so highly valuable that it's difficult to put a price on it! But, as a rich man once said, "Just a little bit more, please."


-> @joerud, @spaceship, @Marie Bee: Thanks for the feedback on this. We agree that joerud, as Songwriter, should receive a higher portion of the percentages.


We did want to clarify that in Community Credits of the episode your primary credit "Music & Lyrics by joerud." We aim to have the Profit Proposal docs represent the credits in the episode as accurately as possible, so I can see how "Lead Musician" in the document strays slightly from the episode credits. The intent was for the total of records 1349964 and 1495858 (equalling 15.73%) to reflect both "Music & Lyrics." Another element that we wanted to clarify was that the Lyrics text record (1495858) was included in the "Adieu" Profit Proposals. Often times, an audio record (or a Portrait record) receives percentages for both "Music & Lyrics" (or something like "Vocals and Lyrics") rather than splitting the percentages across multiple records. In this case, the percentages for "Music & Lyrics" were divided amongst two records - inconsistent with ppeppina's "Vocals and Lyrics" credit for "Beastly Beauty." That's noted, and thanks for bringing it up.


We think it's worth mentioning that there is not a formula for how much of a percentage "music & Lyrics" receive from production to production. Each production is unique. The percentages for ppeppina in "Beastly Beauty" and for humunkulus/saintmaker in "Money Tree" are going to be unique to those respective productions, as the visual components (illustrations, animations, live venue footage, live performances, etc,) all need to be factored in to each proposal as well. And the roles visuals play in each respective production is going to vary in each production, thus altering all of the percentages for the other resources.


We would propose that 1349964 receive 19.5%, representing Songwriter/Lead Musician. We would remove 1495858, as lyrics would now be included in 1349964. We think this would fairly represent joerud’s contribution to the production. We are also proposing that .5% be given to Mamzelle B’s 1373458 for her lyric contribution.


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> HITRECORD ON TV / Act 3+4 / RE: The Other Side / Profit Proposals --- Profit Doc HERE


puchie06: What about the portions of Video used for the Rappers and put together? Should not they receive something for the editing work done on the original submissions?


-> @puchie06: Hi, the videos contributed by the Rappers for “Freestyle Something” are each receiving 8.82% and we feel that is a fair allocation for the verse and visual production (which would include the original edit, etc.)


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anybarra83: Hey guys! I am curious about the percentage division under "Profiling". Why would Andrew's Biro (hand illustrated) animation only receive 10.59%? While, I realize Andrew is actually already making a great profit from his intro animation, I still think he should earn more than 10% on this one. Thoughts?


-> @anybarra83: Hi, this animation bookends KaliBali’s video testimonial, which is the main focus of this part of the show. We feel that 10.59% is a fair allocation with regards to this animated record.


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DL.WHITE: INRM7 That is my old profile. Id actually like to have all my profits sent to Amnesty International Russia. Thank you. Send it on my behalf okay? The I7 glitch cutaway is what i am talking about :) Its an honor to have HitRECord use my work. Again whatever i stand to make in any episode dont send it to me send it to the Non-profit below.


-> @DL.WHITE: Hi, all checks will be mailed to Contributing Artists. What the community does with their checks is entirely up to each individual. Hope that helps clarify!

Created: Apr 09, 2014

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hitRECord Document Media