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I've got a reasonable amount of experience when it comes to scheduling sound design work for games and i've doen a few short indie films which didn't really have a schedule to speak off.
However I'm thinking of pitching for some local TV animation work and was wondering what the established expectations where for scheduling per minute? Obviously this varies hugely depending on content.
I've had a look through some of the previous posts and found some responses for film post-production schedules and I would be interested to know the differences for TV.
I've done a lot of work in animation. As a rough guide I would say that a 12 minute episode (assuming a common delivery of 52x12 min episodes) that you would need 3 days tracklay and 1/2 day to mix. That's also presuming a fairly involved tracklay with little foley and most sounds from libraries.
Make sure that you budget time to create all the delivery stems (M&Es etc) and even possible international conversions (PAL - NTSC - 24p).
Donal - please feel free to email me if you want to chat about any specifics. Done a lot of this sort of work in Ireland/UK. ianjpalmer (at) yahoo.co.uk
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While I like 6 days per half hour show (3 for FX, 1 for Dialog edit and 2 for Mix, assuming Dialog is already recorded), the simple truth is there are no established guidelines. The producers will probably have a certain time frame and budget to work with, and basically you'll need to decide whether or not you can do the gig inside those parameters. If you've done a few games you probably have a fairly accurate guess of how fast you can work - especially in regards to sound design and edit. Figure out how long you think it would take, add a healthy precentage (25-50%) for the "client factor" -how much depends on how much hand holding you think the client may need. And then figure out your rate per day/hour whatever and that's a good starting point. From there, decide whether or not the offer they have on the table is workable.