But I think we can do better. And to that end, starting this year were dedicating a monthly email to tips of running an environmentally friendly set.

So if you’re not yet, get on our email list. It’s low noise and we only deliver valuable announcements and solid, helpful information. And we don’t share our email addresses with anyone.

Yesterday I spoke with a commercials producer about some of the things that she’s seeing on her sets that are environmentally friendly. Here’s a short list of things that she said are working well.

• Using Brita jugs and glasses at meetings and in post-production rooms, resulting in far fewer disposable water bottles.
• Recycling cans everywhere.
• Buffet lunches, no “to go” packaging. Some caterers have switched to real plates and cutlery instead of paper and plastic.

This is just the start of where were going. We’d like your help. If you have an idea that can help reduce waste on the set without bringing the production to halt let us know in the comments below or via Twitter @blinkbid.

photo credit: © Blanca – Fotolia.com

Kraczek’s introduction to the visual arts started with her mother who was an artist. It was the exposure to her mother’s work at a young age that inspired her to pursue drawing and painting in college. Unknown to her at the time, Kraczek’s embrace of charcoal on paper as her favorite medium was heavily influenced by her love of black and white photography. Especially images with simple composition and pronounced light and shadow.

After Kraczek graduated from college with her art degree, she had to find a career path that would enable her to make a living quickly. Jenna’s attraction to glamour led her to beauty school which could get her working soon after she finished the program. Once again she didn’t realize that she was pursuing yet another path that was one of the parts of the whole of her photography calling.

Because of her very young exposure to painting, Kraczek excelled at color theory and trained to be a colorist. Her last year in beauty school she was part of hair competition in which she also did the makeup on the models. Out of nowhere she ended up winning an award for her makeup and not the hair. For Kraczek it was a wake up call. She loved doing makeup.

As she planned a course to makeup school, she also constantly practiced the craft. Weddings, editorial, short films, some-budget projects, no-budget projects, she didn’t care, she just wanted to practice her passion for painting faces.

Eventually her need to work as a makeup artist outweighed the frequency of opportunities that were available in which she could be highly creative. Kraczek was working with “Model Mayhem” photographers. Not surpassingly the work she was asked to do was pedestrian in concept, or the photography was so dreadful that it failed to showcase her work. So she opted to practice her concepts herself and shoot her own pictures to record the work. It was one of those epic moments like when you see a lighting strike, or the green flash right before the sun dips below the horizon.

Using herself as a model, a few spotlights from Office Depot, and a point-and-shoot camera, Kraczek had come to the end of a journey and found that photography was her true passion. Or as she describes it “her vice.” She began shooting friends, neighbors, and eventually models. Of course doing her own makeup and hair.

As her portfolio started bulking up she began getting noticed. First it was a few small projects, and then a few editorial spreads. Her arrival as a pro came recently when she started getting calls from Hollywood to bid on jobs that engaged her specific style. Yes, there is a reason I’m being vague. The projects are under the hush hush of NDAs at the moment.

Kraczek’s work is extraordinary to look at, not only for its aesthetic beauty, but also for inspiration. Her site is one that I have bookmarked, and check in with often just to see what she’s conjured up lately.

Jenna Kraczek’s career reads like an epic journey where the hero goes through life picking up the required skills that she’ll need to pursue her ultimate destiny. Ironically, in Kraczek’s case, it’s the destiny she would have never discovered had she not travelled the odyssey that she did.

More of Jenna Kraczek’s work can be seen in her site Jenna Kraczek Photography.

Over the last year we’ve noticed that very few folks are purchasing PowerPC versions of Blinkbid. And with the 5th anniversary of the introduction of the Intel based Macs only three months away, we’re confident that all our users no longer have a need for a PowerPC version of Blinkbid.

After this current release, Blinkbid 6.04, we will no longer publish updates for PowerPC based Macs. We will, of course, still support our PowerPC users, especially if they need help migrating to an Intel-based Mac. If you have any technical questions, please contact our support team.

Here’s a rundown of what you’ll find in the v6.04 update…

Changes and Additions

• Agent’s invoice now indicates commissionable fees in the description
• Added envelope printing capabilities from the contact card

• Added option to suppress the date under the signature image of an invoice
• Added “Receive Advance” in the Job menu in the Production window. Also added an indicator in the Production window to show that the advance has been received
• Added an option to print the job nickname on estimates and invoices. The option can be found in the Document Appearance > Label Text section
• Added the ability to print a Production Report
• Added New Zealand terms and conditions

Bug Fixes

• Blinkbid now calculates profit based on productions expenses if there are no actuals
• When suppressing the logo at print time, the additional space at top feature will now work
• Fixed a bug that when duplicating a job the wrong version number was applied to the duplicated job disallowing use of the Production module
• Fixed a decimal error in the bid consultant in which two categories were showing dollars instead of hundreds of dollars in rare cases
• Fixed a minor problem with the Quickbooks export that affected users who entered an overall job markup

If you have any suggestions or feedback on this update, please post a comment below. If you run into any technical issues, please fill out a support ticket.

Our two winners are: Dave Klaus and Rob Penner. Congratulations, guys! Your books will be in the mail shortly.

For everyone else, we hope you’ll stroll on over to Amazon and pick up a copy for yourself and you’ll soon be ready to jump into DSLR filmmaking and ready to offer clients another valuable photography service.

We shuttered when we speculated what would have happened to our reputations if we got it wrong. “Yes, mam you’d like your cappuccino stirred counter clockwise.”

But things turned out okay, and with only a few expletives thrown back and forth, Michael and I wrote a book. Or so we thought.

Our publisher, Kevin, who wears sunglasses, drives a Porsche and coaches little league, wanted more. He wanted us to call in some Hollywood favors, get some interviews, and add another voice to the publication.

So Michael called Snehal Patel, a DSLR video pioneer who recruited Rodney Charters to shoot one of his movies, and Shane Hurlbut. I called Craig Titley, Gale Tattersall, and Greg Yaitanes. Patel was awesome enough to help write some of chapters of the book, and the other working Hollywood folks were incredibly kind to let themselves be interviewed.

Now we had more than a book, we had the definitive guide to DSLR filmmaking. And to celebrate, we’re giving away two copies away and making it really easy for you to enter the contest.

The Prizes

Two paperback copies of our new book Photocine: Digital Filmmaking with DSLRs. Each book retails for $29.99.

How to Enter

We want to make it really easy for you to win, so choose which ever way (or ways) you prefer. There are three ways to win:

Tweet About the Contest

Tweet this message (or click on the bird) for a chance to win.

I want to win a copy of Photocine: Digital Flimmaking with #DSLRs! http://bit.ly/DSLRfilms #WinPhotocine

You can tweet up to two times a day and each tweet acts as an entry. To be eligible, your tweet must include the hashtag #WinPhotocine. Of course, it would be a good idea to follow Blinkbid too.

Join Our Mailing List

Subscribe to the Blinkbid email newsletter between now and September 23, 2011 and you’re automatically entered to win. Be sure you check your email box and confirm your address once you’ve subscribed, or we won’t have you on the official list.

Post a Comment

Already on the email list and not a Twit? Not to worry. Post a comment below of at least 100 words) (decided that since we’re photographers, perhaps 100 is too many! Use as many words as you need.) telling us why you make DSLR films. Of course, if you’ve blogged about being a DSLR filmmaker, just post a quick note about it and a link to your post and that will count too. Only one comment per person will be eligible.

Contest Dates & Rules

We’ll put everyone’s name in a list and randomly choose two lucky winners. We’ll contact you via email or via Twitter (if that’s how you entered). Of course, if you win on both draws (you should go and get a lottery ticket) we’ll choose another name. Otherwise, that just wouldn’t be fair.

Contest ends September 23, 2011. Winners will be announced on Twitter and on the Blinkbid blog Monday, September 26. Don’t forget to follow @Blinkbid on Twitter so you know if you’re one of our lucky winners.

Staff and anyone else associated with Blinkbid and PhotoCine News cannot win, because that wouldn’t be fair either.

Good luck and enter today!

Influenced by his father’s passion for cars and pictures, Cornellison has been a car enthusiast and a fan of photography since he was a kid. Deep in the back of his mind he knew there was a job out there in which he could indulge both interests. He just didn’t quite know the path to that end when he was working in print production at Seattle-based advertising agency Radarworks (formerly BBFM).

As he gained an expert, hands-on knowledge of the print world on mega accounts like Microsoft and T-Mobile, Cornellison was often asked to step in and help with Photoshop retouching duties as well. His coworkers took note of Cornellison’s creative proclivities and assumed Photoshop was in his skill set. Not one to back away from a challenge, or tell anyone that he wasn’t a Photoshop expert, Cornellison picked up the mouse and started teaching himself how navigate the imaging software.

The results earned him a fantastic reputation in print production circles. A reputation that opened doors and got him offers at other agencies, such as Wong Doody. However, moving around the Seattle area lacked the adventure that Cornellison and his wife, Charisa, needed. So they looked to the other side of the planet. One trip to New Zealand was all it took. They found a new place to dwell.

Packing up and leaving a successful career in your home city to start a new adventure in a foreign country is not for the faint of heart. But as Cornellison puts it, he was the right age, with the right attitude and he was married to a woman with the same passion for bold adventure. When Mark and Charisa landed in Christchurch, New Zealand it was an exciting and scary time.

After a few weeks of taking in their new country, meeting new people and learning to drive on the left side of the road, Cornellison set out to get some work. He started, as we all have, with a list of phone numbers and telephone to start the dreaded cold calling process. Almost immediately he noticed a significant difference between New Zealand the the United States.

“Hello my name is Mark Cornellison and I’d like to talk to someone about getting some work in the print production department of your agency.”

“Oh that sounds great, let me get the owner for you.”

“Hello this is … how can I help.”

Unlike the US, the owner of the ad agencies are part of the crew in New Zealand. Cornellison was astounded at the ease that he was connecting to high level people. Unfortunately there were no immediate job opportunities, but Cornellison felt like he had made a genuine connection to the decision makers.

While Cornellison was connecting with the ad agencies in Christchurch, he also reached out to a photographer named Diederik Van Heyningen who took Cornellison on as an interim retoucher assistant. Van Heyningen shoots cars and people, Cornellison’s favorites. Working with Van Heyningen in the exotic locations found in the outlying hinterlands of New Zealand, Cornellison had found his sweet spot.

During this time he had the opportunity to add to his photographic post-production techniques and apply them to the images that Van Heyningen was shooting. It was the ultimate school of experience and a taste of what he hoped to do much more often.

Eventually a position opened up at one of the design/ad agencies in Christchurch and Cornellison decided to accept the position and the steady work. The laid back corporate style at the New Zealand agencies afforded Cornellison the opportunity to switch between several roles at the agency. Along with his print production duties he was consistently called upon to do retouching and photographic post production work for the agency’s clients.

In April 2010, Cornellison decided to go freelance with his post production skills. Things were moving along for Cornellison and his family until September 4, 2010. The Canterbury earthquake shook the region and as natural disasters do, alter things considerably.

Cornellison and his family thankfully did not sustain any damage or injury. And just as things were starting to fall into a post-quake recovery phase, Christchurch was struck with a significant aftershock in February 2011 which devastated the city. With the economy heavily affected and some family concerns back in the US, Cornellison and his family decided to move back to Washington state. It wasn’t an easy decision. He and his wife had been in Christchurch for nearly five years. They owned a house and had their first child there; it was home.

Cornellison’s wife was the first to return to Washington. Welcomed by family and friends who were thankful for that she was safe, she settled down in the southern part of Washington. After tying up some loose ends, Cornellison soon joined his wife, son and soon-to-be-born second child.

The adventure that started with a trip to Jackson’s Middle Earth had returned to where it had started. But there was one significant difference. Cornellison found what he was looking for when he left to go live in New Zealand. And he was awesome at it. His two passions combined to provide him with his new career.

And yes, I did ask Cornellison about the hobbits. He told me that if I gave him picture of a landscape that he could return it to me with as many hobbits as I wanted. It is after all what he does for a living.

You can see more of Cornellison’s digital retouching work and contact him via his website.

Have you ever wondered where to buy the book “How to Price Commercial Photography Jobs”? Yeah, me too. After years in the commercial photography business, and countless bids under my belt, only one-thing remains constant…no two bid requests are alike. Putting a bid together for a client can be a taxing process. So before going into the details of a winning photography bid there are a few things to consider that can help the process along.

Carpe Per Diem

Knowing your cost of doing business is important for any size company. As a photo consultant, producer and a former rep, I learned that having a grasp on your cost of doing business can help focus marketing efforts so that you are pursuing clients that are not only appropriate to your talents but also to your pocket book. Your cost of doing business also serves as a great foundation for knowing when to walk away from a difficult negotiation.

We once had a large, national client who began the negotiations boasting about how their company had exceeded all of their profit margins in the first quarter of 2010, then attempt to whittle down our fees in all subsequent conversations and have us compete with a photographer with no commercial experience. Since we knew what we were able and willing to charge in order to keep our photographer’s business viable, we walked away from that project without looking back.

Dig Deep

Okay, so here is where things get personal. In addition to knowing your cost of doing business (here’s a handy online calculator to help you figure it out), you also need to ask yourself if you intend on playing fair. True, there is no little black book, but if you do your research and tap into all of the publications and association resources out there, you will begin to wrap your head around what your peers are charging for their licensing fees. Of course, there will always be someone who will bid a job on the cheap, undermining the entire market. So you have to ask yourself if you want to be “that photographer.”

At the Bargaining Table

We had a client once share that our photographer was their first choice but wanted to know if he might consider reducing his fees. We addressed this by offering to have the photographer take portraits of three members of the executive team for internal use. The executive team was available for a very limited window and no time was taken away from the original job. The three additional, non-commercial shots only required the photographer arrive one hour earlier, but not work beyond ten hours. In the end, all of the client’s needs were met and the photographer did not have to compromise his overall fees. The perceived result by the client was that the photographer was flexible and took the client’s budgetary considerations seriously.

The moral of the story is know yourself and what you bring to the table. Know what your market can bear and have comebacks that add value to your bid should a client allude that price is the driving factor in awarding a job.

Ready to Dive In? Time to Open Blinkbid

Now that we have established some basic parameters for creating a bid let’s get our feet wet.  I have found Blinkbid to be an invaluable resource when developing a bid.

When you open a new job in Blinkbid think of it as a blank slate. Be thorough when entering your job description. Many clients provide comprehensive bid specs that you can copy and paste into your job description and tweak as needed. If you do not receive any formal specs do not be afraid to ask your client questions that clearly define the scope of work (number of locations, number of models, client’s expectations on number of shoot days, etc.).

When your client signs off on your bid they are agreeing to the job description as written. If they add or make changes to the job description at any point, be sure to capture the changes in writing. Even better, if time permits, revise your bid so that your client can officially sign off on the changes.

I have had clients question additional costs on our final invoice after files had been delivered. Fortunately, we were able to provide written documentation in the form of a signed bid or emailed changes, making it impossible for them to contest the additional expenses.

Your job description should not be taken lightly. In many instances it provides added insurance so that you are not taken advantage of.

The Unlimited Usage for an Unlimited Time Worldwide Request

Many of us have recently been faced with an increasing number of requests to provide Unlimited Usage for an Unlimited Time (UUUT) Worldwide. I have discovered that one basis for these requests are due to the internal hassle of having to manage the rights of every job an agency produces.

Having been in that role, I can appreciate how cumbersome a task it can be, especially when you are trying to keep track of what a sales team in another state is doing with a vast library of images. I am not an advocate for issuing unlimited rights. However, as a rep I have run into many different scenarios.

I have had instances, when faced with a request for UUUT by a client where we negotiated hard to get the photographer a rate they could live with. I have also represented photographers who would never entertain working with clients that required them to sign all of their image rights away regardless of how big the job or the brand.

Of course, I have also worked with others who bid on and were awarded jobs requiring UUUT which allowed the photographer to produce portfolio images worthy of competing for bigger clients and brands in the future.

It’s vital to remember that when you agree to a UUUT license, understand that you are relinquishing any leverage you might have over those images later on. A client may say they do not intend to use the images for out of home advertising (OOH) only to see the photo plastered on a huge billboard. The media buy on a billboard is not cheap. My thinking is, if a client can afford the media buy, they can afford to negotiate the additional licensing rights with the photographer.

If the licensing/usage terms of a project are not outlined by a client, do your best to balance a client’s licensing needs with fees that are fair, not only to you, but also to the industry and community you are inextricably linked to.

One way to create leverage is by limiting the work delivered. You are not obligated to deliver every frame you took. Narrow your selects by being precise in your editing process.

The license I am using for demonstration provides only limited rights. These usage rights were outlined and requested by an actual, national in-house corporate client. The original bid request asked only for the photographer’s fees and expenses. However, for the purpose of this post I have included applicable production costs. These are real-world numbers and names have been changed for privacy purposes. These rates are based on a job in San Francisco. The region or city in which you are bidding is crucial. For instance, I happen to know that stylists in Los Angeles make $250-$300 more per day than stylists in Denver. So be sure to know your market.

Estimate Terms

In the example above, take note of the statement, “All rights not specifically granted in writing, including copyright, remain the exclusive property of Noah Max Photography, Inc.” This is a friendly reminder to your client that you maintain the copyright.

Another friendly reminder should be included in your Terms & Conditions. There are clients who request a full rights transfer. I do not recommend transferring all rights. Be sure to formally copyright your images, maintaining some leverage should your images appear somewhere they were not meant to.

We once negotiated a license that did not include broadcast usage, only to have the images appear on television. Based on the actual schedule of unauthorized use, the photographer was able to get an additional $15,750 in fees. In the interest of maintaining an ongoing relationship, we elected not to gouge our client because they were ready and willing to pay for their wrongdoing.

Let’s Work on the Estimate

Before jumping in, be sure to give some thought to the structure of your bid and which line items come first, second and so on. I find it is a personal preference, but take into consideration the flow of your bid and how your client will most easily understand it.

Time Is Money

When considering your fees, remember that your time is money. Meaning, if a client asks you to participate in a tech scout you should charge for your time, as this is an opportunity you could have been shooting for another client.

Likewise, you should be compensated for the time you spend processing your images, just as you once would have charged the client for the expenses incurred by processing film at the lab. The fees for such services are negotiable but be sure to include them so you have a starting point to bargain with.

In this sample bid, the client informed us that they were comfortable with our estimated fees and costs since they were comparable to what they had been quoted in the past. Since not all clients will give you feedback on how your pricing compares with other bids they have received, it is your responsibility to research the market and ask the proper questions.

Crew Costs Vary by Market

Clients often have their own ideas about what production costs should be. However, a good producer will know the rates for your market (i.e. Los Angeles, New York, Chicago, Salt Lake City, etc.) and will be able to compare estimates from vendors you wish to work with. Since a 10% variance is typical between an estimate and actual costs, it is always better to leave a little wiggle room. It is never ideal to come in over your estimate by several hundred or several thousand dollars and have to provide an explanation to your client, unless of, course the additional costs were previously agreed to, preferably in writing. It is better to come in under budget or have accounted for unforeseen costs (i.e. special scrim, etc.).  Clients do not like to be asked for more money in the middle of a job.

Bill Talent Directly to the Client

Whenever possible, have the talent fees billed directly to the client so that you are not carrying the liability of the talent’s usage fees. Clarify who will be paying the talent fees beforehand so that you can designate this in your final version of your Blinkbid bid.

Don’t Forget the Sales Tax

Determine in advance how you will deliver final files. I know a few Los Angeles-based photographers who have been hit with sales tax penalties because of the way they delivered files. Be sure to charge sales tax when appropriate. And then be sure to pay your sales tax. I am no tax expert so please be sure to consult with one.

Your Winning Bid Is Ready

The goal with the final bid (view the example above as a final bid [PDF]) is to instill confidence in your client that you know what the heck you are doing. There is no exact science to establishing your fees for a commercial shoot, but there is the photo community, many associations and industry experts available to you. Although, there are a few software programs available to assist you, keep in mind software can’t take into account all of the subtle nuances that come with each client, company and market – and most general business invoicing software doesn’t even come close to understanding all the facets of a photography bid.

So the next time a client calls at 9am requesting a bid by noon, ask yourself if you have done all of your research and soul searched your bottom line. Then, open Blinkbid and get that estimate done.

About Guest Blogger Angela Mateus
Angela Mateus holds a B.A. in Communications & Film and has been working in the commercial photo and print industries since 1997. She has extensive experience working with top talent and in the very best studios in L.A. and New York. Currently, Angela heads up the Artists Creative Agency. Noticing that the majority of photographers were marketing themselves with the vast promotional tools and resources available at their fingertips, Angela decided to turn her focus to photo consulting. She has begun putting on workshops and seminars and working with shooters of all styles and levels of experience to support them in the creation of a well edited online or printed portfolio or in developing a strategy for focusing their marketing efforts to the most appropriate clients.

Today we’re making it easy to make the move to Blinkbid. Now through September 28th if you email us proof of purchase of another bidding and invoicing solution, we’ll give you a 50% discount off of the retail price of Blinkbid.

That’s only a 114 bucks to get the software that is the gateway to a growing network of Blinkbid users. Creative professionals that you can collaborate with seamlessly to bring your production to fruition.

At 50% off why wait? Contact us now and get your discount code. Download Blinkbid estimating and invoicing software now–no billing information required–and get started today. Because being a creative genius is good, but a well paid creative genius is awesome.

In addition to the practical experience of going through the process of creating a commercial, I also learned a little bit about the hyper efficiency of the line producer. They live in a world of numbers that are constantly juggling. One department may have too much money and another department is in the red. Moving the funds around is how the producers, the unsung heroes of photography production, pull off the miracles time and time again.

Our new Blinkbid production module is based on how line producers work managing photography or commercial productions. And as much as it is a tool targeted directly at producers, non producers will benefit from the feature as well to increase the profits of their jobs. With budgets getting tighter, efficient money management is a big part of putting more money in your pocket, and it is also a big part of getting paid more quickly because your production numbers and support is organized.

Managing Money During Production

Take a look at your estimate. Each line item is going to have a bunch of costs associated with it. For example a props line item in your estimate which totals $1,500.00 will have many receipts from a few different prop rental houses. Keeping mind that your agency approved numbers are an estimate you may only end up spending $900.00 on prop rentals. So what happens with that left over money?

As you add receipts to the other line items in the production module of Blinkbid, one like the meals line item, may have gone over budget by a few hundred dollars. Knowing that there is no more money to get from the client, you have to make up that shortfall. In the production module you can click on the negative budget balance of the meals line item and then click on the highlighted budget surplus of the props line item and grab some of the money to balance your shortfall.

You can do this with multiple line items until you’ve depleted the surplus. And, in case you need to get some money back into the props budget because of a last minute addition, you simply click on the negative number in the adjustment column to reclaim some cash.

Tracking Actual and Anticipated Receipts

In the course of a job there are two types of receipts or invoices: actual and anticipated. For example when your production assistant comes back from the prop house with rental receipts, those are actual, in-hand receipts that you can add to the props line item in the production module.

On the other hand, a crew member like a makeup artist probably won’t give you an invoice until after the job wraps. Since you’ve already agreed on a price, however, you can enter that number under the makeup artist line item as an anticipated receipt which will be indicated in orange. Now you have their expense deducted from your budget so you can see how your bottom line is doing, but you also know that you need to get an invoice from them to turn into the agency (if they request support [receipts]).

Adding Unexpected Expenses and Overages

Also in the course of a job, you may find that your estimate wasn’t as tight as it should be, or, you may need to add some extra expenses to ensure a successful shoot. Unfortunately these expenses fall upon your shoulders to pay for. By clicking the Quick Add Item button you’ll see the item catalog pop out from the right. Add the additional line item, like a second assistant, or an additional PA and the line item shows up in your production sheet with a zero budget. The item is indicated as an additional expense in the left column with a black mark. As soon as you add a receipt to that line item, the budget balance for that item will indicate a negative amount. You can then try and balance that line item budget with a surplus from another item.

If a client requests additional production elements for your shoot you follow the same process to add the line item from the catalog, except these items will be indicated in the left column in blue, and you can assign them a budget amount.

If you add additional usage fees to the production those will also be indicated in blue, but they will not impact the bottom line of the budget.

To have your client requested overages approved click the print button and choose overages. Once the client has signed off on the overages, you can click the blue marks in the left column to clear them as approved.

To be certain line producers are truly magical people. It’s not only their ability to manage numbers, but it is the vast network of people they know, relationships they have and inherent, uncanny capacity to solve extraordinary problems in background while you worry about being creative in the foreground.

As much as the producer module in Blinkbid will help you produce your own projects, we recommend hiring a line producer at every opportunity. Our workflow is designed to help producers help you get the job done quickly and efficiently. I’m going to take you through a typical scenario so you can see how to get the most out of our new feature.

Share the Estimate with the Team

As you already know you can share an estimate back and forth with your agent via the share option in Blinkbid. Once your estimate is approved use the same share feature to send the estimate to your producer. Of course, you can hide your fees if you’d like, the line producer doesn’t need that information in order to produce the job.

Once your line producer downloads the job and the estimate he or she can transfer that estimate to the production window and utilize the tools outlined above to manage the job. When it’s time to wrap the job the producer can click on the production status button to get some suggestions on which line items still need some attention. When the producer is satisfied, he or she can print out a top sheet for each category in order to quickly make a wrap book to give to you, to give to the agency.

Not all jobs have to show support, but if you do, we just made it heck of a lot easier to do so.

The producer then clicks the upload button to upload the production sheet to the server. All you need to do now is click the download button in the production window of the job you’re working on to download it into your copy of Blinkbid.

Creating an invoice is as easy as clicking the transfer button. You’ll see that the invoice is now populated with actual amounts from the job, as well as any additional fees and your fees from the estimate window.

You can now make any last minute adjustments and send the invoice off to your client.

Don’t have Blinkbid yet? Download our estimating, production and invoicing software today and try it free for two weeks, or purchase it before August 5 and save $30! Use promo code 8244.