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Author: admin | Category: Calculateur De Pret Auto | Date: 05.01.2016

Before visiting a car dealer, know all essential pricing information about the car you intend to lease.
The reason price is so important in a car lease is that it affects the monthly payment and is the ONLY component of a lease that is negotiable. If you go into a car lease negotiation only knowing what monthly payment you want, you are at a huge disadvantage (see our article Don’t Be a Payment Buyer for more details). It’s one thing to be able to relate car price to monthly lease payments, but knowing whether the deal is good is another matter. If you have nothing much more that a monthly payment, you can evaluate the deal with our Lease Deal Calculator.
You can also check our sister web site, Best Car Deals, for current information on lease specials. Subvented lease deals from car manufacturers are nearly always excellent deals — better than independently negotiated deals by customers — because lease price has been lowered, money factor has been reduced, and residual percentage has been raised, all of which make for a very low lease payment for that particular vehicle.
If you drive no more than about 20,000 miles a year, leasing can still be a viable financing option for you — if you arrange for the extra miles you need at the beginning of your lease. If you drive more than 20,000 miles annually, leasing may not be a good financing solution for you — because the cost of leasing begins to approach the cost of buying, making leasing less practical. Check your lease agreement to make sure all the numbers make sense to you and that nothing extra has been added. The beginning of a lease is not too early to begin thinking about what you plan to do at the time your lease ends. If this Quick Guide to Car Leasing didn’t provide the information you needed or you have additional questions, please go to our Home Page and search our site using the Find box in the right sidebar, or browse the various menus. As the end of summer nears and dealers discount their 2016 cars to make room for next year's models, shoppers who want to lease could find some hidden bargains. The car lease ads normally seen on TV, in newspapers, and on car company web sites are limited-time promotional deals, and are generally good deals. However, it’s necessary to read the fine print in the ads to determine the conditions under which the offer is being made. Actual net capitalized cost $20,006, including acquisition fee $595 – The price of the vehicle has been discounted by $4134 (excellent !). Total of monthly payments $7164 – This is simply the sum of 36 payments of $199 each.
Option to purchase at lease-end $13,891 – All car leases provide an option to purchase the vehicle at lease-end for a specified, guaranteed amount. Given all the details typically provided in car lease ads and TV commercials, we can actually evaluate the deals to determine if they are worth considering. Our Best Car Deals web site contains a list of current lease deals on many makes and models. As we arrived at a car dealership to purchase a hybrid for Edmunds' long-term test fleet, we noticed a small sheet of paper posted next to the factory window sticker. This sheet of paper, known in the industry as the supplemental sticker, inflated the price of the vehicle by $600.
The Express Code Marking System consists of a special label placed on key body parts of the vehicle.
What makes dealer add-ons especially sticky is that sometimes the only car available in the color and trim level a buyer wants has already been outfitted with add-ons. A nitrogen fill for car tires is one of the newer items to appear on supplemental window stickers.
During negotiations for our hybrid car with the interior protection package and an Express Code Marking System, we told the assistant sales manager that we weren't interested in the extras. Each offer we made brought down the cost of the add-ons, but kept us distracted from our primary goal of getting the best price on the vehicle itself. If you've identified a car you're interested in, call and ask ahead of time if it is equipped with any dealer add-ons.
If you still want to negotiate on a car that's loaded with dealer add-ons, evaluate the wholesale cost of each item.
Shoot Concept: Reportage images of people interacting within an experiential event activation. Licensing: Unlimited use (excluding broadcast, OOH and packaging) of all images captured in perpetuity. We learned that the agency was tasked with developing an experiential activation which would be set up and the general public would be encouraged to visit their large footprint over the course of a few days throughout the larger event. While they requested unlimited use (excluding Broadcast, OOH and Packaging), it was very clear that their intended use was primarily for a small section of their website, and to simply document the activation for internal use or collateral purposes. Photographer Scout Day: While we received detailed renderings of the activation footprint, we wanted to make sure the photographer had a sense of the various environments within the area beforehand, and they hoped to get a sense as to what potential staging areas might exist on location.
Assistants: In addition to the photographer’s assistant, who would help with grip and equipment, we included a production assistant to help obtain releases from the talent and generally be an extra set of hands and a runner if any items needed to be procured on the shoot day. Casting and Talent: We reached out to a local casting director who would help us find “real people” talent (as opposed to casting professional talent). Equipment: We included a very basic rate for a camera body and lenses, as the shots would primarily be captured using available light. Results: The photographer was not awarded the job, but we found out that they ultimately went with a photographer whose bottom line was a few thousand dollars higher. If you have any questions, or if you need help estimating or producing a project, please give us a call at (610) 260-0200. Though we generally try to avoid pricing on a day-rate basis, we’ve noticed a trend in corporate collateral budgets. Client Provisions: We made sure to indicate that the client would provide locations, subjects, requisite releases and catering (from their cafeteria). First Assistant: We included a first assistant to attend the tech scout day and all three shoot days. Shoot Processing for Client Review: This covers the time, equipment and costs for the initial import, edit, batch color correction and upload of the images via FTP (or similar) for client review.
File Transfer: This covers the cost of two hard drives and the shipping of one of those drives (containing all hi-res processed selects) to the client. If you have any questions, or if you need help estimating or producing a project, please give us a call at (610) 260-0200. Producer: We included a producer (including travel fees and expenses) to manage the crew, employee talent, locations, stylists, catering, parking, scheduling, local transportation, and just about any other logistical concerns that may come up throughout pre-production and the shoot. Styling: We brought on two stylists (and one stylist assistant) to manage HMU, supplemental wardrobe (the subjects would provide a few of their own outfits and the client would provide necessary uniforms) and supplement personal props like handbags, folios, phones, etc. Shoot Processing for Client Review: This fee covered time, equipment and costs for the initial import, edit, batch color correction and upload of the images via FTP (or similar) for client review and selection.
There were 16 displays that needed to be photographed, and I felt that image #1 was worth $2,000, image #2 was worth $1,000, images #3-#7 were worth $500 each, and images #8-#16 were worth $250 each.
After calculating a fee, I put pen to paper on the expenses, which as I mentioned, were based on a high level of production. Photographer Scout Day: Part of the logistical challenge for this project was that some of the displays were before the airport security checkpoint, others were beyond it, and the agency wasn’t quite sure exactly where each display was. Producer Days: The local pool of producers was bare, and the specific producer that the photographer and agency hoped to work with was actually based out of town and would be traveling in.
Catering: Based on previous experience shooting at airports, I knew our catering option would be limited to the airport’s internal food services company. Insurance: I anticipated that the airport would require a certificate of insurance, and that their requirements would likely eclipse what a typical photographer’s policy would cover. Producer Travel: As I mentioned, the producer would be traveling in, and I grouped their expenses into one line item.
Casting from Cards and Adult Talent Days: As opposed to a live casting, the agency was interested in casting talent based on their headshots, which made sense since the talent would likely be unrecognizable anyway. Groomer Days and Wardrobe: The talent would be bringing their own wardrobe based on specs provided by the agency, but they requested for a stylist to be present to make sure they looked presentable. Feedback: Overall, I knew this estimate would be too high for them, and while I anticipated a discussion regarding a decreased level of production, they specifically asked to see what it would take to execute a project in this way. Feedback: Despite the cuts, the agency hoped to trim the budget even further, by about half the amount.
Results: The photographer was awarded the project, and given the light production footprint and the fact that the displays all ended up being before the security checkpoint, the coordination with the airport wasn’t too much of a headache. Licensing: Trade Advertising and Trade Collateral use of two images in the US for two years. After determining what I felt was an appropriate fee, I checked other pricing resources to see what they suggested as well.
The agency asked for an option to expand the licensing from trade to consumer use within a concurrent time frame, and I felt that this increase should fall somewhere in between an additional 50% to 100% of the fee, or at least be as valuable as 100% of the first hero shot.
Photographer Scout Day: We planned to do a walkthrough of the location before the shoot, so I made sure to include pre-production time for the photographer to attend. B-Roll Videographer and Video Equipment: While photography was definitely the main objective, the agency hoped to acquire video content as well during the shoot. First and Second Assistants: We’d need extra hands on site, not only to help set up and break down, but to also assist with moving furniture around and putting it back in place alongside the styling team.
Location Scout, Location Fee: Upon initial discussion regarding the creative direction, the client was looking for a pretty straightforward and simple residential property. Production RV: When possible, I always try to include a production RV for shoots like this to keep as many cooks out of the kitchen as possible. Live Casting and Talent: The agency requested a live casting (rather than casting from cards) and wanted to capture video of each talent to see how they presented themselves and interacted with others.
Equipment: At the time of estimating, we were debating whether it would make sense to shoot with strobes and then set up continuous lights for the video, or if we should just use the lighting setup for video and have the photographer just shoot without his strobes. Shoot Processing for Client Review and Selects Processed for Reproduction: We included $250 for the photographer to do a quick edit and provide a web gallery, while adding $100 per image to touch up the chosen files and deliver them to the agency. Feedback: While we knew that our estimate fell within their budget, we also sensed that they might be interested in increasing the scope of the project.
Live Casting and Talent: Since we’d be casting four talent instead of two, we increased the casting fee to account for more time to prep, shoot and book talent, and we increased the talent fees to account for two additional people. Wardrobe: This also increased, but didn’t double since the outfits that were requested could easily accommodate more than one talent.
Selects Processed for Reproduction: This was a quick change to jump from two to six images, and to cover the time it would take to process more images. Production Insurance: Throughout the negotiation process, we learned that the agency had insurance requirements that the photographer’s policy didn’t specifically cover. Results: The project was awarded, and the client opted to expand the licensing to include consumer use. If you have any questions, or if you need help estimating or producing a project, please give us a call at (610) 260-0200. We were approached by a fashion and beauty photographer to help draft an estimate after she was contacted by a major lifestyle magazine based in the New York City area. Because of the nature of this use, it might seem it doesn’t fit cleanly within the normal terms we use to describe licensing (which are Advertising, Collateral, Editorial and Publicity). Client Provisions: The magazine had picked out the six locations, hired the talent, arranged transportation and designed the looks. Many of the provisions would be supplied by a video team that would be following along, capturing some BTS shots and creating how-to videos showing how the models were styled.
Assistant: Considering the lighting requirements (little) and the additional bodies (several) we opted for only one assistant here.
Equipment: Even though the client was looking for natural light, we wanted to make sure there was enough money available for the photographer to rent additional lenses, or provide subtle lighting to supplement the existing scene.
Shoot Processing for Client Review: After the shoot, the photographer would need to upload all the images, cull the unusable frames, lightly batch process the images and upload them to a web gallery for the client to review and make their selects from. Selects Processed for Reproduction: Once selects are chosen, the photographer will need to process the images for use in the final product. Result: We were able to get a budget from the client before-hand, and we knew this was a bit above what they were hoping for. Hindsight: As great as it is when a client accepts an estimate immediately, it always makes me wonder if we underbid the project.
If you have any questions, or if you need help estimating or producing a project, please give us a call at (610) 260-0200. As in most instances with this type of licensing, their requested use wasn’t 100% in line with their intended use and it was clear that although they may have taken advantage of the full licensing for one or two images, most of the images would primarily be used for collateral purposes only.
Based on the pro-rated per image fee I calculated, I noted the cost of additional images if they wanted to license any of the “nice to have” shots captured throughout the day.
B-Roll Videographer and Audio Tech: The client was originally hoping for the photographer to capture video and audio content throughout the day in addition to the still images. Assistants and Digital Tech: We anticipated that the photographer’s first assistant would attend the scout day and that they’d be joined by a second assistant and a digital tech on the shoot day. Producer and Production Assistant: The photographer had a local producer lined-up for this project and we anticipated three prep days, one scout day, one shoot day and one day to wrap everything up.
Live Casting and Talent: The photographer used to live in the city where the shoot was taking place and had really strong connections with local talent and agents.
Airfare, Lodging and Car Rental: As noted earlier, while the photographer would incur these expenses, she was willing to work as a local and absorb the cost. Shoot Processing for Client Review, Color Correction, File Cleanup and Delivery: While a digital tech would be on site to help manage the workflow, we included $500 to account for the photographer’s time to do an initial edit and provide a web gallery of the entire shoot. Catering: We anticipated nine people on the scout day and up to 41 people on the shoot day (including crew, client, adult talent and child talent along with their parents) and based the rate on $50 per person. We recently put together an estimate to shoot a variety of environmental-lifestyle portraits alongside a video production for one of the country’s largest for-profit colleges.
First Assistants: The concept, along with restrictions associated with shooting alongside a motion production meant we wouldn’t be firing strobes (in most scenarios). Shoot Processing for Client Review: On most library shoots, you may have to batch process all images captured, which we estimate on a daily basis (1 shoot day = 1 day of batch processing). Catering: Since we wouldn’t necessarily be with the video production all day, we made sure to include a line item to cover crew meals throughout the four shoot days. Results and Hindsight: The photographer was awarded the project which went so well that the client hired him to do a second round not long after. When discussing the project with the photographer, I told him that this is actually quite common in the world of commercial architectural photography. Despite their intended use, it’s common for such clients to request unlimited use (including advertising), which was the original request from this client. Additionally, the commercial architectural photography segment of the industry has established rates that have more or less become standard.
There’s nothing inherently wrong with these “standard” rates, as long as the photographer recognizes projects that fall outside of the typical project for an architecture firm or an interior design company.
In this case, we knew the parties were all interested in having the photographer capture 30 exterior images (20 during the day and 10 at night), and 20 interior images.
A common tactic used by architectural photographers in these situations is to add a 33% surcharge to the fee for each additional party involved, and have all of the clients split the overall fee and all expenses.
First Assistant: The photographer would bring his first assistant with him, and this accounted for two travel days, one scout day and four shoot days. Second Assistant: We included a local second assistant for each shoot day since the venue was quite large, and the photographer would need an extra set of hands to carry and set up equipment. Shoot Processing for Client Review: This covered the time it would take the photographer to transfer and review all of the images in order to compile a web gallery for the client to choose from.
Selects Processed for Reproduction: As I mentioned earlier, it’s common to separate image processing fees and charge them to each party involved based on the images they want. If so, Apple will have to share space with other automakers already testing at the secure facility.
Apple’s inquiry suggests the company is well along in prototyping a self-driving car and needs to get some hands-off experience on urban roads and highways. Apple is believed to have with Fiat-Chrysler and BMW as potential partners, for instance to supply the car body and some or all of the drivetrain.
Your first step, if your dog has been injured, should be to write a letter to the person who caused the injury, setting out what happened. In the letter, give a deadline for payment—that's a good incentive for the person to act quickly.
EXAMPLE: Your next-door neighbor hires a tree-trimming service to prune a tree that stands near the boundary of your properties.
Three weeks ago, on April 21, your employee Hannah Boardman dropped a large tree limb into my yard while trimming a tree on my neighbor's property. As a result of your employee's carelessness, I incurred a veterinary bill of $425 for Buster's examinations, X-rays, and medication. I am willing to give up any claim I might have for my own emotional distress, but I think you should reimburse me for the cost of Buster's treatment. To negotiate a settlement, think about getting some help from a free or low-cost community mediation program. If you reach an agreement, be sure to put it in writing and have all the people involved sign it. DRIVE AWAY IN YOUR DREAM USED OFFLEASEONLY USED TOYOTA FOR THOUSANDS BELOW RETAIL AT OFFLEASEONLY!
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At Off Lease Only, prices aren't negotiable and are clearly stated online and on every vehicle in our car lots. Owner Mark Fischer started Off Lease Only with his life savings, starting with just two cars. With our out of state business exploding, Off Lease Only is truly the Nation's Used Car Destination! Leasing is often confused with renting, which it is not, which leads to unfortunate misconceptions and mistakes. This includes MSRP (sticker price), invoice price, and market price (what other people are paying). These might be window etchings, paint sealant, fabric protectant, rust proofing, or expensive floor mats.
By the time you enter into negotiations with a dealer, you should already know how lease payments are calculated and, generally, what price car will produce the payments you want (see How Much Car Can I Lease?
Of course, a good vehicle price is part of a good lease deal, but there are other factors that affect a deal. If you have more detailed information and need a more accurate answer, use the Lease Evaluator or Lease Inspector in our Lease Kit. These promotional deals usually last only one month, after which the deals can be extended, modified, or simply withdrawn. Typically, it’s less expensive than paying an excess mileage fee at the end of a lease.
Furthermore, high mileage leases means that the car will not be covered by manufacturer’s warranty for the full lease term, and the likelihood of excessive wear-and-tear is greater.
Your options will be to 1) return your car to the lease company, or 2) purchase your vehicle from the lease company. The key is to understand — and maximize — two little-understood aspects of leasing.It all comes down to finding cars with high resale value and then negotiating a low purchase price.
We’ll focus on the ad for the Accord Sedan for $199 a month, for 36 months, with $2499 due at signing. Of the $2499 due at lease signing, $199 is for the first month’s payment (lease payments are always at beginning of month), which leaves $2300 as down payment (cap cost reduction).
It does not include any tax and official fees that are required in the customer’s state or county. Contrast this to the sum of loan payments for the same $23,545 (plus interest) car — approximately $21,000. Again, this is a promotional deal being offered by Honda to help sell (lease) this particular model. The deals come from manufacturers who are placing special lease prices, high residuals, and low money factors on certain models.
It listed two dealer add-ons to the car and it caught us off guard, since we hadn't seen these additional charges when we viewed the car on the dealership's Web site. Common add-ons include anti-theft devices, nitrogen in tires, window tinting, chrome-plated wheels, all-season floor mats, splash guards, wheel locks, cargo trays and alarm systems. We once were negotiating the purchase of a compact car with a $279 "Appearance package" and discovered that this was basically pinstriping. Some dealers are charging upward of $100 for a service that, based on our research, isn't really worth it, especially given that plain old "air" is free. Dealerships sometimes disable factory alarm systems, install their own and charge customers for them. The negotiation kept going in circles, and the dealer's last offer was $300 higher than where we began, so we walked away. If you want chrome wheels or pinstriping or tinted windows and you're willing to pay extra for them, you should. He probably won't do this, but you will have a stronger negotiating position since you've made it clear the items have no value to you. That fact alone is a deal breaker for a lot of photographers, and in fact, before we knew anything about the scope of the project, the agency wanted to know if the photographer would even consider taking on a project for this type of client. While their initial consideration was to hire a photographer to capture event coverage images of real people interacting within the staged environments, the potential issues regarding model releases for a brand like this, and their need to have a bit more control over the production and timing led them to casting talent and staging the event before it opened to the public. That being said, the images could have potentially been used for print advertising given the licensing terms they requested, but again, based on the advertising this brand has previously done, none of the images resulting from this shoot would be on-brand for advertising initiatives, and that was very unlikely. They needed to identify with the brand and be a smoker, and the casting director specialized in finding just the right type of people, and had done so previously on similar projects.
We’re available to help with any and all pricing and negotiating needs—from small stock sales to large ad campaigns.
He’d shot a similar project for the same client, a mid-sized financial services company, years earlier, so we had some sense of the budget and production expectations (you can’t ask for a better bidding situation!).
Having insight into previous budgets for this client, knowing that this photographer was the only one being considered and factoring in the value of his unique, stylized approach, we felt comfortable pushing the envelope. This client also happened to have a video production team on staff and a small production studio. This is partially due to the nature of their product and the fact that they are trade oriented and don’t deal with consumers directly. Additionally, we determined the value for the 12 principal images was considerably higher than the 24 variations.
The lighting kit would be minimal, but we’d be moving a lot and wanted to make sure we had enough hands on deck. Major set props would be provided by the client – basically, we would work with existing spaces as is. The shoot went as smoothly as it could have and everyone was stoked with the final product. We’ve estimated many projects like this before, and while they typically come with tight budgets, those budgets are often justified by a low level of production needed to capture the content.
That brought me to $7,750, which I thought was appropriate for the licensing and one day of shooting, but I felt that the additional shoot day warranted a bump to the fee, so I added about $2,000 to account for this, and then rounded back down to an even $9,500 which I thought would be more palatable. For this kind of shoot, it’s rare that a client would have a big budget, but at the same time, they wanted to shoot professional talent in a major airport before and after the security checkpoint…not a simple task. We also included a second assistant to offer an additional set of hands to help move lighting and other gear around to the various locations throughout the airport. In addition to the travel, scout and shoot days, I included adequate prep and wrap time for the producer to coordinate the project.
For a still photo shoot (rather than video) with more than five people on site, they listed a location fee of $1,000 per day.
I included $60 per day per person for up to 13 people (including the crew, talent, and agency representatives). This fee included the time (likely spent by either a producer or a local casting agency) to request headshots from multiple talent agencies based on certain demographics, organize and deliver the results, and then correspond with individual talent agencies to book and confirm the talent.
I included a rate that would allow us to bring in a stylist from another city if the limited pool of local stylists happened to be unavailable.
I felt that the reduction of the additional day was worth a decrease of $2,000, and that the reduction of 10 shots was worth a decrease of $2,500. We’re available to help with any and all pricing and negotiating needs—from small stock sales to big ad campaigns.
I felt the second image would be a bit less valuable, but different enough that they’d be able to use in unique ways or to present a different message. I settled on $7,500 to make it a palatable option, while also realizing the agency would have to take into account increased talent rates (which I developed with our casting director). With a crew this size and lengthy list of logistics to monitor, a producer would be a key role to take on those responsibilities. Since most location scouts have plenty of residential properties that would fit this bill in their database, I included one day to account for a file pull, and one day to account for extra time they might need to spend shooting new pictures of the location we chose or to find additional options. An RV would afford a place for the stylists to set up, space for talent to wait, an area to arrange catering, and a private area with wifi for the client if needed. We included two prep days, one shoot day and one return day for both the stylist and their assistant.
Either way, I was confident that $1,500 would cover the photographer’s gear should he choose to use it, or it could be added to the $1,000 already included for the videographers gear to help supplement that to include a lighting setup.
I’d typically increase the rate for the gallery to $500, but we’d have a digital tech on site to help organize the assets and accomplish some of this work as it was being captured. Sure enough, the agency came back and told us that they were interested in shooting another scenario with two additional talent during the same shoot day, and they asked for a revised estimate. My first inclination was to double the price, but upon further consideration, I felt that the first image of the second scenario might be equally if not less valuable than the second image from the first concept.
So, instead of shopping for four unique outfits, many of the same items would be appropriate for multiple talent which I anticipated would result in cost savings.
The photographer would need to increase his policy and pay an additional fee to his insurance company in order to do so, and hoped to pass this cost along to the agency.
We’re available to help with any and all pricing and negotiating needs—from small stock sales to big ad campaigns.
However, we consider the use to be more along the lines of what we might normally call advertising use, due to the value the client is getting from the images, and the final use of those images, being similar. As such, some of the tools we consult when calculating licensing fees do contain a print advertorial option. You might land on $1,000 for the first image for one year, which would be a sensible place to start. The brand provided their own stylist, well versed in using only the brand’s products to achieve a variety of looks.
In different ways, the photographs and the videos would be equally as important to the overall campaign, and just as prominent in the execution of the advertorials. With six locations to get through in the day and an unknown amount of travel between, working quickly would be crucial to a successful shoot.
We might have included a second assistant if not for the client-managed video crew, if only to make sure that the area of the shoot is secure. This money would also cover the photographer’s owned equipment, rented to the production at market rates.
This takes at least a couple hours, so we want to make sure the photographer (or her retoucher) is compensated for the time, skill and equipment required to produce the previews. Expenses: During the scout day, the photographer and her assistant will need to travel and eat—this fee allows us to get reimbursed for that expense. However, we were able to negotiate an increase to cover the additional cost, and the shoot was executed smoothly. After a conversation on what was accomplishable in one day and determining which shots were just “nice to have” as time allowed, we settled on 20 images to initially be licensed for three years of unlimited use. With that in mind, I decided to first determine a price for one year of licensing and then extrapolate to determine what I thought was appropriate for three years. I also provided an option to increase the licensing from three years to five years for an additional 50% of the fee and from three years to perpetual use for 100% of the fee.
While she had a bit of experience shooting video, the shot list was so ambitious that we felt the production would be jeopardized if she had to switch back and forth from stills to video throughout the day. We also included a PA for the shoot day as well as an additional day for either the scouting or for other prep time to help the producer.
I anticipated that the wardrobe stylist would need three shopping days and one shoot day and that their assistant would help shop for two of those days, attend the shoot and then return the wardrobe afterwards.
We included one day for the talent options to come to a studio and have their headshots taken for consideration and wrapped up all of the prep time, equipment and expenses into one line item. Unlike most higher education clients, for-profit colleges generally have a bit more to spend on promotion as their business model depends on brand awareness and expansive reach more than a “traditional” college or university, with few exceptions.
We’d be shooting all of this in conjunction with a video production, which was responsible for coordinating all of the production elements. As much as we try to avoid simply pricing based on the day, unfortunately it’s a trend we occasionally embrace, to a degree. We included a prop stylist to help finesse available props at a given location and a groomer to handle basic hair, makeup and wardrobe adjustments.
In this case, we limited the initial deliverables to 75 images, meaning that the client would need to review a gallery to make their selections.
This way, if the client order less than 75 images, they would still be on the hook for the full amount.
At first, they wouldn’t reveal exactly who the other parties would be (or perhaps it wasn’t finalized at that point), but from conversations with the photographer and client, it was likely that they were collaborating with the architectural firm that designed the venue, the company that would promote the events at the venue, a local design firm and potentially the local tourism board.
It typically takes many parties to plan, build, decorate and manage a property (whether it’s a residential house or a commercial building), and it therefore makes sense that all of these companies might want images of the final product to help promote their particular product or service. However, I felt that such usage should be negotiated separately for each client (especially in this case since there were a few companies involved that could take full advantage of unlimited use), and we were able to convince them to limit the initial licensing to Collateral and Publicity use only. That’s mostly due to the same type of projects arising again and again for the same types of clients with similar expecations for the scope of the project and licensing. Also, based on the shot list, time of day required for each shot and the photographer’s experience, we determined that the shoot would require four shoot days. This tactic and approach can vary, especially if each client wants different images, but based on this concept and the fact that everyone was planning to share all of the images, we decided that each additional party joining in would increase the fee by $3,300 (33% of the $10,000 fee). Flights were a few hundred dollars round trip, which I rounded up to $500 per person (for the photographer and his assistant) to include baggage fees and fluctuation.
Additionally, I included $100 for each shoot day to account for miscellaneous unpredictable expenses that may have come up during the trip.
Since most architectural images require a descent amount of post production and layering, I included this rate to account for some basic compositing the photographer would need to do prior to showing the images to his client. However, since we felt we were already at the limits of the budgetary threshold, we included all 50 images for a single lump fee of $10,000. Project Titan officials appear to be negotiating space at a secure World War II-era former naval base in Concord, CA, northeast of Oakland and San Francisco. Honda and Mercedes-Benz are already testing there (just not at the same time), according to a report in The Guardian. Overseen by the Contra Costa (county) Transportation Authority, it offers 20 miles of secure (give or take drones) roadways for testing autonomous vehicles (self-driving vehicles) and also connected vehicles.
The Apple project, code-named Project Titan, is at a skunkworks site 4 miles from Apple’s Cupertino Headquarters. Even if the person you're writing to knows the facts as well as you do, it's a good way to organize your thoughts and make them clear to the other person. And say that if you don't work something out by then, you'll file a small claims (or other) court case. A mediator's job is to help people solve their own problems; the mediator has no power to impose a decision. At OffLeaseOnly, find the used Toyota of your dreams cheaper than anywhere else in the market. Why buy new when you can save thousands of dollars buying a quality, OffLeaseOnly used Toyota. Browse thousands of used cars from the comfort of your home computer and you'll see why over 100,000 happy customers tell their friends, family and co-workers that OffLeaseOnly is the Only Place to buy a used Toyota. They shopped online to check used car prices but didn't even bother shopping at other used car dealerships because they are loyal OffLeaseOnly customers.
Plus remember you'll never deal with any stressful negotiating, OffLeaseOnly no dealer fees, no hidden fees and no stress in your used Toyota buying experience! You may be able to adjust (not negotiate) money factor with a higher down payment, or change residual value by accepting a different mileage limit. If the items have already been installed and can’t be removed, you can attempt to negotiate the inflated prices being charged.
If you use exactly the same numbers as the dealer as input to your calculations, the monthly payment number will be exactly the same as his.
Always check to see if such a deal is being offered for the specific vehicle that you want.
The extra miles are charged at a per-mile rate, usually about $0.15 a mile (higher for luxury cars), and the total amount is subtracted from the normal residual value. Keeping these things in mind during your lease will make things go a lot smoother at lease-end. If you know up front that you will choose to buy your vehicle, then there’s no need to be concerned about excessive mileage or wear-and-tear during your lease term.
This fee is normal for all car leases and $595 is Honda’s standard fee for all leases.
Remember, your actual payment and total of payments will be higher due to sales tax (in most states). They have discounted the price heavily, created a high residual value, and reduced the normal finance rate (money factor) — all of which makes for a nice low monthly payment. The deals are genuinely good deals but you should make sure you can live with the car model, the term (usually 36 months), annual mileage limit (usually 10K-12K miles per year), and the down payment, if any. Checking around, we found that you can buy rolls of pinstriping tape for between $2 and $10 and have the project done by a professional for between $50 and $100. Now we were not only negotiating the price of the vehicle but the price of the add-ons as well. We eventually negotiated online and bought the car at another dealer without the add-ons, avoiding all that hassle.
If you want those items and they are already on the car, the time you will save not getting the car tinted and pinstriped on your own is certainly worth something.


You can cut the cost of other items in half, assuming the dealer has applied a 50 percent markup.
Additionally, we knew that they had started the project by reaching out to event photographers who might charge hourly rates as opposed to taking into account licensing fees. Though the concept was straightforward, environmental employee portraits at the client’s headquarters, the photographer’s stylized approach would elevate the portraits from a corporate feel to more of an ad campaign feel.
To save on the production costs, they offered to provide grip equipment, their usual groomer and a second assistant for the project. The agency was developing a new web presence for the client, along with a number of trade print ads, all of which humanized the brand by highlighting the employees who manage the day to day operations. The additional 24 images were described as “pickup” variations of the 12 principal images. This one was a bit different in that it came with an elevated level of production and unique logistical challenges, but the licensing was comparable to other similar projects, and was limited to internal collateral use by the client, and use of the images on the agency’s website as part of their portfolio. I assumed they’d want to do this project with a really small footprint, but upon speaking with the art buyer, I learned that they anticipated a crew inclusive of the photographer, multiple assistants, a producer and a groomer, on top of the talent and agency representatives being present. Working with an airport can prove to be incredibly time consuming due to security measures, especially when you aren’t working on behalf of an airline or the airport itself who could otherwise provide access and connections to ease the process. They also listed various personnel at hourly rates, including operations officers, police officers, fire marshals, engineers, electricians, and “other” support staff. We were basically asked to take a scalpel to the expenses, and see what we could do with a reduced level of production (they were willing to concede to 2 talent on one of the days, were ok without a groomer, mentioned that they might be able to pre-scout the location, and said they could handle the retouching). Rather than 16 displays, they were hoping to capture just 6, which would help to make the project a 1 day shoot. We also removed the casting and talent fees, and reduced the expenses across the board to account for one less day. Taking that and my previous experience pricing similar projects into consideration, I priced the first image at $7,000 and the second image at $5,000. Getty suggests a price of $4,800 per image for print advertising, but didn’t have a catch-all collateral pricing rate or the option for specific trade usage. Given the limited creative responsibilities, I felt $1,500 would cover a camera operator who could also offer grip and lighting expertise. In the area where the shoot would take place, and based on prior experience, I felt a location fee of $2,000 would return a solid list of options to choose from. We anticipated that $350 per talent would be more than enough to cover non-returnable wardrobe, and that $1,650 would be a good starting point for extra props to fill out a room in a residential property (tables, chairs, other small pieces of furniture, flowers, picture frames, vases, etc).
I had considered adding an extra $3,750 for image number three and $1,500 for image number four, and felt that the third image in each scenario didn’t bring enough value to increase the fee much further. Interestingly, while I would have anticipated an increase to the prop budget since we’d be shooting in two scenarios, we felt that after analyzing some location options, that we’d be able to use many of the items already in the houses to set up a simple second scenario. Much derided and often ignored, advertorials and native content are hard to pull off right. The photos would show the fully-styled models in urban street scenes alongside videos explaining how to achieve the styles the models were showcasing with the brand’s products.
But perhaps the most salient consideration for this job was the client’s specific budget. Lighting was naturalistic, requiring minimal gear, and the on-the-move nature of the shoot prohibited much catering or wardrobe. That aspect would be handled by the client and their video team, so in this case our photographer only needed her trusted first assistant. This also gives us a little wiggle room if a line item turns out to be more expensive than we expected.
In this scenario, we were able to do just that – come in slightly over budget and negotiate approval, thereby getting as much money for the photographer as we could. I initially priced the first image at $3,000, images two through five at $1,500 each, images six through ten at $750 each and images eleven through twenty at $500 each. While we provided these options as requested by the client, I felt that the shelf life of the images was actually likely to be less than three years given the fact that many of the products featured in the images would ultimately be replaced within that time frame. Rather than removing the lines altogether, we decided to keep them in and simply include a “fee waived” note so the client would know that the photographer was willing to offer a discount. We therefore included a separate videographer along with an audio tech for the day and specifically noted that they’d be a “B-Roll” videographer to set the client’s expectations regarding the type of content they’d be capturing throughout the day.
If she ended up needing to actually rent gear, we previously included an extra day for a production assistant to help pick up equipment as needed and figured this rate would cover those items as well. Even when tolerating the day rate fee structure, we try to take every opportunity to limit the scope of what is included in that rate. This can be risky, but so long as expectations are aligned, it can be managed without too much trouble. Most of the time, architecture firms, landscape designers, interior designers or general contractors will want to put the images in their online portfolios or submit them to industry publications and contests, and other times they’ll want to use the images for collateral pieces and to have them on hand for other publicity purposes. Oftentimes, architectural photographers are charging up to a few thousand dollars a day, plus expenses and a per image processing fee. Since those parties were still being lined up while we compiled the estimate, we included this rate as a “licensing option”. It would basically get the images headed in the right direction before really diving in and performing the more time consuming processing.
Automakers, universities and others with auto-research needs can lease access to the facility, and if necessary, get exclusive use of all or some of the facility, which is under military guard. In some states, a letter to the other side demanding payment is required by law before you can file a small claims action. For two weeks he had to take painkillers; only now is he able to walk almost normally again. The sample uses a release form from 101 Law Forms for Personal Use , by Robin Leonard and Ralph Warner (Nolo). Log on to OffLeaseOnly and shop for that used Toyota from the comfort of your home computer or mobile device. OffLeaseOnly unique business model removes the stress of negotiating from the process of buying a used car.
OffLeaseOnly sells more used cars than any other used car dealer in Florida because we offer the lowest used car prices compared to any other used car dealer.
Remember most of our used Toyota are still under factory warranty and have extended service agreement available to purchase up to 7 years and 150,000 miles from your date of purchase for added peace of mind. After shopping used car dealers in Miami for the same used Toyota Corolla that OffLeaseOnly had on the lot, they said the decision was easy!
The Off Lease Only business model is successful for two reasons: Off Lease Only prices its cars thousands of dollars less than any other car dealer in the nation and truly cares about each customer's happiness.
Used car shoppers can buy cars online without ever having to visit Florida, and have their vehicles shipped to their doorstep and still save money.
A score of 1 is the lowest Price Flex Score, which indicates little or no negotiating power. Although car company web sites usually have basic MSRP data, you won’t find invoice prices or market prices there. Always negotiate the price of a vehicle first, then determine what lease payment amount it produces, either letting the dealer do the math, or doing it yourself using an online lease calculator on your smartphone or tablet. Honda vehicles typically have high residual values, even without manufacturer incentive deals. If you were looking for a Honda Accord LX sedan, this would be an incredible deal on that vehicle. A dealer might charge $395 for window tinting that you could buy in a specialty shop for $145.
This is something that the client was interested in, and it would ultimately drive the value up toward the top end of the range for this kind of project and usage.
We’re occasionally, if not often, seeing budgets around 3,500.00 flat, inclusive of usage, expenses and processing, which is on the lower end of reasonable. The concept was relatively straightforward; the photographer would need to capture environmental portraits of client employees at client facilities on the West Coast.
Because of the straightforward concept and relatively static scenarios, it was difficult to imagine these variations creating much value for the client.
This falls on the higher end of the library ceiling I’d set (particularly considering the limitations), but the photographer has a unique approach and aesthetic favored by the client and agency, so we felt we could start with healthier fees.
I anticipated we’d need to scale down after presenting these costs, but regardless, we had to show them what it would take to executive the project as requested. I therefore wanted to make sure we included enough time to accommodate the potential headache. After discussing some options with the photographer, we decided that he could handle the pre-production (for a fee) if it just meant hiring one assistant, doing a simple casting from cards, and corresponding with the airport (no second assistant, groomer, catering, scouting, producer). On top of that, the agency was also willing to do away with talent, and just hoped to shoot unrecognizable real people as they walked by the displays. I typically try to determine the licensing value for a single year first, and then extrapolate to account for additional years.
Corbis offers a “Print Ad, Collateral and Web Pack”, which seemed to fit the requested licensing nicely, and suggested a price close to $15,000 per image per year, but also didn’t include an option for trade usage.
I anticipated that the $1,000 would cover his camera, a basic slider and video monitors for the client to view the content they would be capturing.
Since some of these items would be rather large, we included the cost of a van to help transport everything. While we wanted to bump the price to this amount, the photographer was eager to close the deal and wanted to offer a bit of a discount by capping it at $15,000 (we did however increase the licensing option to jump from trade to consumer use). Some are overlooked completely, some annoy consumers, but the absolute best provide useful content that promotes the associated brand subtly and contextually, leaving a positive brand impression. Apart from being hosted on the magazine’s primary website, the photos and videos (shot by a separate crew) would also be featured on a fashion-centric blog owned by the magazine as well as a microsite that would host all the content indefinitely. Fotoquote, which includes a print advertorial option only, calculated $687 per image per year, while Getty Images quoted $2,230 for the same.
The photographer was eager to get the job, and inclined to try and work within their parameters. The photographer, stylists, client and talent would drive around New York in a Sprinter, jumping from location to location. The client was fine with the idea of reviewing images on the back of the camera, so we opted not to include a digital tech. We include this sort of line item on every shoot as a safety net to catch either small, unforeseen expenses or lump several minor expenses into one category.
The images complemented the text and video well, helping to create social engagement and drive traffic to the client’s website.
We could have come in at or under the budget, but in the end we would have forfeited money on what was already a slimmer shoot. I doubled the total to account for the requested three-year licensing duration and then took a look at how that broke out on a per-image basis.
We also noted that any and all video editing would be provided by the client in the “Job Description” section of the estimate. These rates were also based on the local producer’s previous experience on similar projects and we were therefore confident that the rates would suffice.
With this configuration, there would be limited production support needed on the stills side. However, because the tech would only be working on a laptop and moving frequently, we didn’t expect them to handle that process, and charged separately for the photographer to handle the processing for client review, after the shoot. In some cases, architectural photographers are even making more money on the processing than they are on the shoot. However, that fee did not account for multiple parties, and I felt it was only appropriate for a single client.
GoMentum bills itself as “the largest secure test facility in the world” for self-driving and connected cars. I would prefer to work this out between us rather than take the matter to small claims or circuit court. With the click of a mouse you can search OffLeaseOnly used Toyota inventory to find the perfect used car to fit your needs and budget! Off Lease Only is proud to have over 100,000 happy customers that refer their friends, family and co-workers here from all around the country.
Other buyers fly in from all over the country to take advantage of the pricing and selection at Off Lease Only's dealerships in Miami, Fort Lauderdale, Palm Beach and Orlando.
A score of 100 is the highest Price Flex Score, meaning there is a big range of transaction prices for that model. Meanwhile, Edmunds data show trucks and SUVs to be the fastest-growing vehicle segment for leasing."This is going to be a fantastic time to lease," says Steven Szakaly, chief economist for the National Automobile Dealers Association. Some months are better than other months — more deals on more models and styles, better deals.
Yet another common add-on is the "Paint Protection package," which sold for $495 when we encountered it. Try as we might to push back in those cases, it will often boil down to a take it or leave it situation. Although the locations and talent would be provided, there was still a lengthy shot list, operational locations, and a fair amount of production involved. We were confident that the agency would come back to us to negotiate if our numbers didn’t align with theirs because of the photographer’s preferred position.
I felt $1,500 was an appropriate starting point, but noted that it was TBD and elaborated in our delivery that this would need to be dialed-in as the project progressed.
On top of removing all of those items, we reduced the equipment, came down on the location fees (since it would be much fewer people on-site), noted that the escorts would be TBD, came down on the insurance and casting, reduced the expense for the shoot processing for client review, and adjusted the misc. However, while I might typically add 50% to jump from one year to two years, I felt that based on the simplicity of the concept and the likelihood of a limited shelf life to these images, that the price increase wasn’t justified.
Given the nature of the project, we agreed that this was still good for a one-day shoot, and I’ve seen similar projects land on similar rates while granting more licensing. Overall, the magazine would be providing a lot of what photographers are normally asked to provide and what we normally include. I had originally anticipated two prep days for the stylist, but the photographer had corresponded with a stylist who was comfortable with just a half-day to pick up some of these items and suggested a budget of $500. We also implicitly limited the number of images available to the client by only delivering 75 processed files. Given the time it takes for an experienced architectural photographer to process an image, they can earn a substantial amount of money by charging accordingly. So, that begs the question of how to charge for multiple parties licensing the same images. Compare our used car prices to any other used car dealer in the Nation and see how much money you will save. If such add-on products have already been added to the car by the dealer or distributor, you can refuse to pay for them, or negotiate a better, more reasonable, price. We contacted the shop that performed the paint protection and learned that it's basically a wax job. We must have hit the mark, because the agency approved the bid without a single question or requested revision (which is exceedingly rare). I also found out during conversation with the art buyer that their budget was around 50k, and I wanted to present appropriate fees while still keeping this in mind. OffLeaseOnly unique used car buying experience is why we are the Nation's Used Car Destination with the lowest used car prices possible on every used car model of used Toyotas. And the vehicles, from a safety and technology perspective, are the best cars ever produced."DEPRECIATION AND LEASINGStill, not all cars are created equal when it comes to leasing, and you need to know how to lease the diamond in the rough.
To avoid any miscommunication about what the client would provide and what the photographer would be responsible for, I included a list of client provisions in the estimate’s job description, listing everything that the client would provide clearly and completely. At the end of three years, the length of a typical lease, one car has lost half its value, $15,000, while the other has lost only $10,000. That, my friend, is the car you want to lease."The biggest component of your lease payment is going to be depreciation — no doubt about that," Hall says. In lease-speak, this is called the "residual value," which ranges from a low of about 45 percent to a high of 60 percent over three years.
Residual values are set by analysts and banks and basically are a prediction of what a new car will be worth at the end of the lease contract.German luxury cars, the top Asian brands and domestic trucks and SUVs are among the categories that hold their value, Hall says. Many members on his site chose "leftover" Chevrolet Cruzes from the previous model year and got them for next to nothing because of discounts and rebates.WHAT ABOUT ELECTRIC CARS?If you're in the market for an electric car, Szakaly recommends leasing instead of buying — and not, in this case, because of its residual value.
For one thing, the technology in EVs will be outdated by the end of the lease and the all-electric range is growing steadily because of advances in battery technology.
For another, manufacturers often offer lease-only incentives.LEASING RESOURCESMany shoppers are confused by leasing, so it's important to know where to find solid information to help negotiate a low monthly payment and good terms.
Furthermore, it's important to find a car's residual value or, barring that, at least know whether a car has a strong resale value. Picking a similarly priced car, but one that is good for leasing, could save you $50 a month — $1,800 over a three-year lease, Hall estimates.Automotive sites compile lists of vehicles with strong residual values. If you are interested in a specific car and want to see how it holds its value, check a pricing guide to see what that same car, 3 years old, is now worth, Szakaly suggests.Victoria Xie, also a co-founder of LeaseHackr, says their site's calculator rates lease deals by showing how long it would take for monthly lease payments to total the purchase price of the car.



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Comments to «Negotiating car lease residual value»

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  2. IMPOSSIBLE_LIFE writes:
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  3. Henry writes:
    The Loan Amount, 5??as the Term, and.