#project scope estimation

[asestimationsconsultants]

Key Factors That Impact the Accuracy of a Construction Estimating Service

Introduction

In the construction industry, cost estimation is a crucial process that determines the financial feasibility of a project. A minor miscalculation in cost estimation can lead to budget overruns, project delays, and financial losses. That’s why accuracy in a construction estimating service is essential for contractors, project managers, and developers.

Several factors influence the precision of cost estimates, including material prices, labor costs, project scope, and unforeseen risks. In this article, we will explore the key factors that impact the accuracy of a construction estimating service and how companies can enhance their estimating processes.

1. Well-Defined Project Scope

One of the most common reasons for inaccurate cost estimates is a poorly defined project scope. If project requirements, materials, and specifications are unclear, estimators may make incorrect assumptions, leading to cost discrepancies.

Unclear Scope: Missing project details force estimators to make guesses, reducing accuracy.

Frequent Scope Changes: Modifications after estimation can alter material and labor costs significantly.

Solution: Clearly define project requirements before engaging a construction estimating service and update estimates as scope changes occur.

2. Quality of Blueprints and Specifications

The accuracy of an estimate depends on the quality of the blueprints and project specifications provided. Incomplete or conflicting plans can result in incorrect material takeoffs, leading to miscalculations.

Incomplete Drawings: Missing dimensions and unclear layouts lead to errors.

Inconsistent Specifications: Variations between the design documents and project requirements can create discrepancies.

Solution: Ensure all blueprints are accurate, well-detailed, and approved before submitting them for cost estimation.

3. Material Cost Fluctuations

Material costs are one of the most variable components in construction. Prices for materials such as steel, concrete, and lumber fluctuate due to market demand, inflation, and supply chain disruptions.

Price Instability: Global market trends, tariffs, and economic conditions impact material costs.

Substitutions and Availability: Limited supply can force the use of costlier alternatives.

Solution: Use a construction estimating service that integrates real-time pricing databases to reflect the latest material costs.

4. Labor Costs and Productivity

Labor expenses make up a significant portion of construction costs. Labor rates vary based on location, workforce availability, and project complexity.

Skilled Labor Shortage: Higher demand for skilled workers drives up wages.

Labor Productivity Variations: Estimators must consider realistic productivity rates to avoid underestimating labor costs.

Solution: Conduct market research on labor rates and include productivity assessments in labor cost estimates.

5. Accuracy of Quantity Takeoffs

A construction estimating service relies on quantity takeoffs to determine material requirements. Errors in this stage can drastically impact the final cost estimate.

Manual Errors: Human mistakes in calculations can lead to material shortages or excess costs.

Incorrect Measurements: Misinterpretation of construction drawings can result in inaccurate takeoffs.

Solution: Use digital takeoff tools that automate the process and reduce the risk of human error.

6. Site Conditions and Location Factors

The physical conditions of a construction site significantly influence project costs. Factors such as soil type, weather conditions, and accessibility can impact labor and equipment costs.

Remote Locations: Higher transportation and labor costs due to distance.

Difficult Terrain: Additional work required for site preparation increases expenses.

Solution: Conduct a thorough site analysis before estimating costs and adjust estimates based on local conditions.

7. Contingency Planning and Risk Management

Unexpected project risks can lead to financial setbacks if they are not accounted for in the estimation process. Common risks include permit delays, design changes, and unforeseen environmental factors.

Lack of Contingency Funds: Failure to allocate extra funds can lead to financial struggles during the project.

Unanticipated Costs: Legal and regulatory changes may require additional expenses.

Solution: A good construction estimating service should include contingency allowances (5–10% of total project cost) to cover unforeseen expenses.

8. Estimating Software and Technology

The tools used for cost estimation can make a significant difference in accuracy. Outdated manual methods are prone to errors, while modern software solutions enhance precision and efficiency.

Manual Estimation Risks: Increased potential for human error and time-consuming calculations.

AI and Automation Benefits: AI-powered construction estimating services analyze vast amounts of data for better accuracy.

Solution: Invest in advanced estimating software that integrates real-time data and automates calculations.

9. Experience and Expertise of the Estimator

The accuracy of a construction estimating service also depends on the experience of the estimator. Skilled estimators understand industry standards, potential risks, and pricing trends better than inexperienced ones.

Lack of Industry Knowledge: Inexperienced estimators may overlook critical costs.

Improper Use of Historical Data: Inaccurate use of past project costs can distort estimates.

Solution: Hire experienced estimators and ensure continuous training on the latest industry trends and estimating techniques.

10. Economic and Market Conditions

External economic factors such as inflation, interest rates, and supply chain disruptions can impact construction costs. Estimators must factor in these variables to create realistic budgets.

High Market Demand: Increased demand for construction services can drive up material and labor costs.

Inflation and Tariffs: Rising costs of imported materials can affect estimates.

Solution: Stay updated on economic trends and adjust estimates accordingly.

Conclusion

The accuracy of a construction estimating service depends on multiple factors, including project scope clarity, material and labor cost fluctuations, estimator expertise, and the use of advanced technology. By addressing these factors, construction firms can improve cost predictability, reduce financial risks, and ensure successful project execution.

Investing in modern estimating tools, regularly updating pricing data, and refining estimation processes will enhance the reliability of construction estimating services, leading to more profitable and efficient construction projects.

[phoenixiancrystallist]

My fellow fic writers, do you ever reread something you wrote and get slammed with a fully rendered cinematic sequence so vivid you forget for a moment that it doesn't actually exist?

I don't have the ability to make that cinematic but oh my goodness golly gosh do I want to so bad ;-;

[jamaicahomescom]

The Good, the Bad, and the Ugly of Project Management for Beginners

The lack of project management training or experience of many people can be an enormous stress factor for them. Whilst natural organizational ability is enormously helpful, in itself it is no guarantee of any project being both successful and low-stress. It’s Monday afternoon at the office. The week has only begun, but you’re already swimming in a sea of memos, spreadsheets, and schedules. Just…

[jccatstudios]

Hi! Im pretty sure someone already asked you this but I really want to know. When working on the comic, do you make a script for yourself or do you "just" work with the book as it is? I know that making a script adds another work to the already long list, but working with the book as it is seems really overwhelming (many words me not likey)

You know, I don't think I have answered this before! Not in-depth, at least. Here's how I do it.

This is my extra annotated copy of the book (my original copy remains untouched). Got it used and as-is from Powell's. I also have a digital copy of the book when I can't bring this copy with me. I underline certain things I don't want to forget in the artwork, and write little notes to myself here and there. It's not shown on this page, but sometimes I cross things out that I won't/can't adapt like worldbuilding info and smaller flashbacks. If dialogue needs to be changed for lettering purposes, I do that when I'm actually making pages, not at the annotating stage. In the digital copy, I highlight character and setting descriptions to keep track of. This process is actually how I made my second graphic novel, which was an adaptation of a short story I wrote.

The ratio up top is my book page to comic page estimate. Last chapter's ratio was 10:21, which is in the ballpark of 3:7. With it, I've figured out how long each chapter and section would be just for fun. I even have a rough estimate of how long the entire book would be in comic format with nothing cut from it (try plugging in the numbers yourself if you'd like a fun surprise).

If this were a real professional project, I would write out a script myself. I'd want to keep the whole book in mind instead of doing it chapter by chapter. Working directly from the book for how things are structured is just a way to make the comic faster. Even thinking about the last chapter, I have ideas already for what I would change to create a stronger comic adaptation. For now though, I just go off the individual chapter to create something more one-to-one. This project has always been a way to improve my art and comic skills before I graduate, so doing structural rewrites to the story, even though that would be necessary for an actual adaptation, is out of the scope of this personal project I do outside of my classes.

[woebegonefanzine]

Updates and some FAQ answers!

We are already over 20 sign ups, thank you for the interest so far!

As of now the scope of the project based on interest check:

This will be a W.BG only zine.

There will be no strict theme! So long as you keep it “in universe” you can do whatever you like! Our plan is to include as many different characters and scenes as possible. Canon ships are all welcome!

We’ve had mostly artist sign-ups so far, more writing options would be great! Reminder that we’re accepting fiction as well as non-fiction for this project! (Meaning you can get meta and write an essay on the music in the show if you want!)

We want to be as clear as possible as to what this project will entail, but since we want to leave it open to anyone doing anything it’s hard to nail down! If you have any direct questions on what will be welcome we will be happy to answer!

As of now, every person who’s signed up will be making it into the project - we estimate every person who signs up will be accepted to at least 1 role.

We’re still looking for moderators! There’s been a lot of interest but not a lot of applications! The more mods we have the more people can join as well!

The current mod team consists of:

K.M. @threearmsally

Acting as Lead mod and finance/shipping (if goals met)

(@/malevolent-fanzine, @/malevolenttarotzine, @/malevolentfairytalezine, @/mycupofteafanzine, many others.)

Mar @xenoglssie

Acting as Art and Merch mod

(@/malevolent-fanzine, @/malevolenttarotzine, @/malevolentfairytalezine, others)

The zine itself is planned as a digital PDF with the opportunity to be made physical with both digital and physical merch options. All projects led by us go as close to “at cost of production” as possible.

There will be no profits made off of this - it’s entirely for the love of the fandom!

If you are having difficulty with the application or sign-up forms at all please reach out! We want everyone who wants to join to be able to!

Right now our only social account is on Tumblr, but feel free to share this project with everyone who may be interested!

A carrd with all the details including estimated schedule will be coming shortly!

Thank you!

Reminder that the interest check will remain open until January 15

Contributor sign ups will remain open until Feb 15

Mod applications open until Feb 01

[askagamedev]

Is classic game porting/remastering becoming its own specialization? What I mean is, of course it's happening more these days, so/but is space growing to be someone who specializes in these projects? Or is it still niche enough that the small number of teams/staff who do it will continue to do it?

The answer here is "kind of". Here's the main issue - game development is expensive. AAA studios are expensive and cost a lot to run, assigning a AAA studio a remake/port project is not really worth it when compared to the estimated return on investment. Instead, what game publishers often do is contract out the remakes/port job to an independent third-party studio. This has two major benefits.

First, it costs notably less than the publisher putting their own internal AAA studios on it. When you're doing a remake/port, you often don't need super high fidelity assets or extremely large scope - the majority of the gameplay design and systems already exist. Contracting the project out to an external studio means the publisher can just pay a flat amount and doesn't have to worry about things hiring new people, handling benefits, setting up the studio, etc. The external studio gets to do that, and often has their own stuff in place already. This works very well for the independent studios too - they can take jobs like this in order to pay the bills and fund their own game development. Behaviour, independent developer of Dead by Daylight, also has a second team that does work like porting and remakes/ports for other studios. Their porting and remake team provides the income to keep the studio afloat during leaner times.

Second, it allows the publisher to give these external studios a chance to prove themselves - can they deliver a promised project in time, budget, and quality? If they can, this studio may be worth acquiring or working with again. The Legend of Zelda: Echoes of Wisdom was developed by Japanese independent studio Grezzo, but this is far from their first game for Nintendo. They ported Ocarina of Time 3D, Majora's Mask 3D, and Luigi's Mansion for the 3DS, and they did the port for Link's Awakening to the Switch. The team that built Sonic Mania first proved themselves to Sega by doing iOS ports of Sonic CD, Sonic 1, and Sonic 2 before being given the Sonic Mania project.

With these two reasons in mind, doing remakes/ports do two things. First, they can earn money to pay the bills in a situation where it isn't worth it for the publishers to build them internally, allowing these studios to build their own projects or just have a more stable sustainable situation. Second, it provides a "minor league" situation where these external studios can prove their ability to the publisher in a lower-stakes situation in order to be entrusted with a higher and more interesting project later. As long as remakes and ports of games continue to do well, this kind of work will be in demand.

[Join us on Discord] and/or [Support us on Patreon]

Got a burning question you want answered?

Short questions: Ask a Game Dev on Twitter

Long questions: Ask a Game Dev on Tumblr

Frequent Questions: The FAQ

[flora-tea]

💙 Bluesky | 🔗 Linktree

----

✧˚⋆✨ 𝐂𝐨𝐦𝐦𝐢𝐬𝐬𝐢𝐨𝐧 𝐈𝐧𝐟𝐨 ✨⋆˚✧

Commissions are always open! 💜

**All prices shown are base price estimates. Final price is adjusted for individual project scope and discussed with the client <3

⠂⠄⠄⠂⠁⠁⠂⠄⠄⠂⠁⠁⠂⠄⠄⠂ ⠂⠄⠄⠂

✧ Sketchy

Colored drawing with sketch-like lines and a relatively simple rendering style. Can be experimental! :)

☆ Headshot: $80 ☆ Portrait (chest-up): $90 ☆ Halfbody (thighs/waist-up): $150 ☆ Fullbody: $200

⠂⠄⠄⠂⠁⠁⠂⠄⠄⠂⠁⠁⠂⠄⠄⠂ ⠂⠄⠄⠂

✧ Cinematic

Art with more layered/dynamic shading and lighting work. Rendering style is often inspired by animated shows and films!

☆ Headshot: $150 ☆ Portrait (chest-up): $200 ☆ Halfbody (thighs/waist-up): $250 ☆ Fullbody: $300

⠂⠄⠄⠂⠁⠁⠂⠄⠄⠂⠁⠁⠂⠄⠄⠂ ⠂⠄⠄⠂

✧ Painting

Art with detailed painterly rendering

☆ Headshot: $500 ☆ Portrait (chest-up): $600 ☆ Halfbody (thighs/waist-up): $800 ☆ Fullbody : $900

⠂⠄⠄⠂⠁⠁⠂⠄⠄⠂⠁⠁⠂⠄⠄⠂ ⠂⠄⠄⠂

✧ +Backgrounds

Detailed/painted background prices vary by complexity ($100+ for simpler, $500+ for more complex). Exact pricing will be discussed!

⠂⠄⠄⠂⠁⠁⠂⠄⠄⠂⠁⠁⠂⠄⠄⠂ ⠂⠄⠄⠂

✧ Character Reference Sheet

Reference sheet focusing on your character's design! There are 2 optional types: Simplistic or Complex. (+Character design available!)

✧ Simplistic 1 fullbody, 1 callout of your choosing, + character name, pronouns, and palette (+ any requested extras) ☆ Base price: $230 * with character design: +20%

✧ Complex 2 fullbodies, 2 callouts of your choosing, + character name, pronouns, and palette (+ any requested extras) ☆ Base price: $550 * with character design: +20%

⠂⠄⠄⠂⠁⠁⠂⠄⠄⠂⠁⠁⠂⠄⠄⠂ ⠂⠄⠄⠂

✧ Bust Custom

A custom character design-- portrait edition! :) This is a lower-cost way to get yourself an oc design!

☆ Base price: $80

⠂⠄⠄⠂⠁⠁⠂⠄⠄⠂⠁⠁⠂⠄⠄⠂ ⠂⠄⠄⠂

Message me or fill out the form below! I look forward to working with you 💜

╰┈➤ {Commission Form }

*Payment options and TOS can be found here

⠂⠄⠄⠂⠁⠁⠂⠄⠄⠂⠁⠁⠂⠄⠄⠂ ⠂⠄⠄

[the-golden-comet]

✨Writer Questionnaire Tag ✨

Thank you for the tags @wyked-ao3 here, and @thatuselesshuman here and @nczaversnick here. Y’all are great! 💛✨

How long have you had your writing Tumblr/Writeblr? A fast and loose estimate is fine!

I’ve had this blog since….end of April? Early May?

What led you to create it?

When I set up all my socials, I wanted to use this as a way to build a writing community, share my stories, and exploring and sharing the ideas of other likeminded individuals.

What’s your favorite thing about the Writeblr community?

How kind and welcoming writeblr is. The community is supportive of everyone’s stories and OCs, and everyone has some wonderfully unique and fascinating characters.

What’s one thing you’d like your mutuals to know about you?

You are always. Always. ALWAYS welcome to tag me, message me, send asks, interact with me. I absolutely endorse the engagement and excitement in this community, and even though I may miss a few tags, just know that seeing you tag me to see your stories brings the biggest, goofiest smile on my face. Thank you for being you and sharing your creative minds with us 💛✨

Is there anything you’d like to see more of on your dash?

Kindness, support, and creative stories. Keep writing, keep inspiring, keep on keeping on.

WIP it Good

Which Works-in-Progress (WIPs) or writing projects are you noodling about, lately?

Your Wish Is My Command is my current WIP at about 75% complete. I have a little bit to share from Tenshito as well, but the latter will have to get majorly cut down and restructured before it’s ready ✨

How long have you been working on them?

Planning and ideas began a couple of years ago. Writing them down? For YWIMC since early May, and Tenshito since 2020 (took a hiatus to focus on work and big life stuff, like moving twice and getting married)

Do you remember what inspired them/what got you started?

My love of storytelling, video games, and Disney. I wrote and published Peter Hart based off of a few of my favorite video games 🏴‍☠️💛✨

How much time, in your best estimation, do you spend thinking about them?

All the time. At least once a day, if not more. My stories help me get to sleep…when I eventually GET to sleep 😴💤

When someone asks the dreaded, “What do you write about,” question, what do you usually say?

BL romantasy novels. It encompasses every person asking, and umbrellas many subgenres.

Let’s Rotate Blorbos

Name any characters you created.  Side characters, protagonists, antagonists, characters who’ve never been written, the first original abomination you ever pulled from your ass; whomever you’d like!

Oof that’s a big list. Let me just do major protagonists/antagonists from stories: Peter, Benjamin, Davey, Ali, Noah, Tenshi, Itazura, Yoji, Tyr, Gustav, Jak, Johnny, Nathan, X, Ollie, and Callum

Who’s the most unhinged?

Peter 🏴‍☠️💛✨

Who comes the most naturally for you to write?

Peter 🏴‍☠️💛✨

Do you ever cringe at them?

Sometimes….depends on what they do. I never cringe at my stories, but sometimes my characters make choices that personally make me go “😬”

How much control do you feel you have over your characters?  AKA, do they ever “write themselves,” refuse to cooperate, or do things you didn’t expect? To what degree? Are some less cooperative than others?

(Slowly looks over at Peter)

Peter: …..What?

Do you enjoy people asking questions about your characters? And do you have a preferred means of receiving said questions? For example, as Asks, as replies, as reblogs, as tag notes, as comments on AO3, etc.

Oh always!! ALWAYS!! Any method is absolutely fine and encouraged by me, but I ALWAYS love when people leave AO3 comments on my stories 💖💫✨

On writeblr engagement

What makes you want to follow another Writeblr account? Do you follow ‘em as you see ‘em, or take time scoping out the blog to make sure you align with its content? Do you follow based on WIPs, or vibes?

I scope out the content before I follow for sure. Because I write adult fiction, I look through posts to make sure that our interests would align, and that the blog mentions an age that is 18+. If I am ever uncertain or have a suspicion beyond a reasonable doubt that the blog is run by a minor, I won’t follow them (and unfollow if I get suspicious of their posts)

What makes you decide against following?

I use discretion on age, politics, and religion before following. Any homophobic, transphobic, or otherwise hateful conduct gets automatically blocked. The world needs more kindness and uplifting of one another. We need to bring each other up, not tear each other down.

Do you interact with non-mutuals often?

I try to! Usually in the form of reblogs and ask games. My pile for work and tumblr keeps stacking though, so I find myself getting very busy very often (and that’s a good thing! ✨)

Do your mutuals’ characters occupy space in your noodle?

All the time, every time. To name a few mutuals: G.J, Jamie, Gioia, Casper, Tobin, Jay, Wyked, Gina, and Jev have characters that are my current hyperfixations. But there are SO, SO many that are so interesting that I want to learn more!! ✨

Thank you so much for tagging me, you two!! Going to alert the tag list on this one 💛✨

✨Tag list for writing snippets below. DM me if you’d like to be added 👇✨

Tag List for writing tidbits (lmk if you want + or -)

@jev-urisk , @sunglasses-in-the-bentley , @wyked-ao3 , @glasshouses-and-stones , @alinacapellabooks , @gioiaalbanoart , @fortunatetragedy , @deanwax , @dyrewrites , @honeybewrites , @paeliae-occasionally , @lychhiker-writes , @thatuselesshuman , @kaylinalexanderbooks , @katenewmanwrites , @zackprincebooks , @fantasy-things-and-such , @billybatsonmylove , @madi-konrad , @far-cry-from-finality , @froggy-pposto , @fractured-shield , @avaseofpeonies , @thecoolerlucky , @willtheweaver , @somethingclevermahogony , @noxxytocin , @leahnardo-da-veggie , @addicted2coke-theothercoke , @mysticstarlightduck , @the-letterbox-archives , @theink-stainedfolk , @ominous-feychild , @saturnine-saturneight , @words-after-midnight , @sableglass , @cowboybrunch , @moltenwrites , @pixies-love-envy , @davycoquette , @writeahurricane , @greenfinchwriter , @oliolioxenfreewrites , @lavender-gloom , @smellyrottentrees , @aintgonnatakethis , @thecomfywriter

[rjzimmerman]

In addition to the story about the waste caused by the layoffs, The Guardian reports that nearly $500 million of food aid is at risk of spoilage after trump shut down USAID. Brilliant, right? From The Guardian:

Nearly half a billion dollars of food aid is at risk of spoilage following the decision of Donald Trump and Elon Musk’s “Doge” agency to make cuts to USAid, according to an inspector general (IG) report released on Monday.

Following staff reductions and funding freezes, the US agency responsible for providing humanitarian assistance across the world – including food, water, shelter and emergency healthcare – is struggling to function.

“Recent widespread staffing reductions across the agency … coupled with uncertainty about the scope of foreign assistance waivers and permissible communications with implementers, has degraded USAid’s ability to distribute and safeguard taxpayer-funded humanitarian assistance,” the report said.

According to USAid staff, this uncertainty put more than $489m of food assistance at ports, in transit, and in warehouses at risk of spoilage, unanticipated storage needs, and diversion.

Excerpt from the Mother Jones story about the USDA:

The widespread layoff of Department of Agriculture (USDA) scientists has thrown vital research into disarray, according to former and current employees of the agency. Scientists hit by the layoffs were working on projects to improve crops, defend against pests and disease, and understand the climate impact of farming practices. The layoffs also threaten to undermine billions of taxpayer dollars paid to farmers to support conservation practices, experts warn.

The USDA layoffs are part of the Trump administration’s mass firing of federal employees, mainly targeting people who are in their probationary periods ahead of gaining full-time status, which for USDA scientists can be up to three years. The agency has not released exact firing figures, but they are estimated to include many hundreds of staff at critical scientific subagencies and a reported 3,400 employees in the Forest Service.

The IRA provided the USDA with $300 million to help with the quantification of carbon sequestration and greenhouse gas emissions from agriculture. This money was intended to support the $8.5 billion in farmer subsidies authorized in the IRA to be spent on the Environmental Quality Incentives Program—a plan to encourage farmers to take up practices with potential environmental benefits, such as cover cropping and better waste storage. At least one contracted farming project funded by EQIP has been paused by the Trump administration, Reuters reports.

The $300 million was supposed to be used to establish an agricultural greenhouse gas network that could monitor the effectiveness of the kinds of conservation practices funded by EQIP and other multibillion-dollar conservation programs, says Emily Bass, associate director of federal policy, food, and agriculture at the environmental research center the Breakthrough Institute. This work was being carried out in part by the National Resources Conservation Service (NRCS) and the Agricultural Research Service (ARS), two of the scientific sub-agencies hit heavily by the federal layoffs.

“That’s a ton of taxpayer dollars, and the quantification work of ARS and NRCS is an essential part of measuring those programs’ actual impacts on emissions reductions,” says Bass. “Stopping or hamstringing efforts midway is a huge waste of resources that have already been spent.”

[davycoquette]

Get to Know Your Moots Writeblr Interview

Remember, folks; if any of the questions don’t spark joy, just delete ‘em. If someone tags you and this feels like a chore, don’t do it! This is for fun!

On the Tumblr Writing Community

How long have you had your writing Tumblr/Writeblr?

A fast and loose estimate is fine!

What led you to create it?

What’s your favorite thing about the Writeblr community?

What’s one thing you’d like your mutuals to know about you?

Is there anything you’d like to see more of on your dash?

What tips/advice do you have for someone who made a Writeblr today?

WIP it Good

Which Works-in-Progress (WIPs) or writing projects are you noodling about, lately?

How long have you been working on them?

Do you remember what inspired them/what got you started?

How much time, in your best estimation, do you spend thinking about them?

When someone asks the dreaded, “What do you write about,” question, what do you usually say?

What do you want to say (if it’s different from what you do say)?

Let’s Rotate Blorbos

Name any characters you created.

Side characters, protagonists, antagonists, characters who’ve never been written, the first original abomination you ever pulled from your ass; whomever you’d like!

Who’s the most unhinged?

Who comes the most naturally for you to write?

Do you ever cringe at them?

How much control do you feel you have over your characters?

AKA, do they ever “write themselves,” refuse to cooperate, or do things you didn’t expect? To what degree? Are some less cooperative than others?

Do you enjoy people asking questions about your characters?

And do you have a preferred means of receiving said questions? For example, as Asks, as replies, as reblogs, as tag notes, as comments on AO3, etc.

On Writeblr Engagement

What makes you want to follow another Writeblr account?

Do you follow ‘em as you see ‘em, or take time scoping out the blog to make sure you align with its content? Do you follow based on WIPs, or vibes?

What makes you decide against following?

Do you interact with non-mutuals often?

Do your mutuals’ characters occupy space in your noodle?

[persephinae]

U.S. Copyright Office Presses 'Pause' on DMCA Exemption for Video Games

By Lydia Leung, LLB | Last updated on November 08, 2024

When we think of a library, we picture never-ending shelves of books; the world's knowledge available to us at the touch of a finger. But nowadays, it's not just physical records that libraries collect. Many now lend video games to their members, providing their local communities with entertainment while helping preserve the software for future generations.

The recent decision by the U.S. Copyright Office (USCO) to reject an exemption to the DMCA for video games in libraries' collections has put that practice into question. The decision prevents video games from being accessed remotely by researchers. While some in the games industry view this ruling as a win for rights holders, others see it as a major setback for arts research, especially compared to researchers in other fields with "routine and regular access" to digital archives.

What Is The DMCA?

Passed in 1998, the Digital Millennium Copyright Act (DMCA) brought the U.S. in line with treaties of the World Intellectual Property Organization (WIPO), updating copyright law for the digital age. Section 1201 of the DMCA criminalizes the "circumvention of copyright protection systems" that prevent unauthorized access to copyrighted works, such as reading encrypted optical discs or removing copy restrictions from electronic documents.

Exemptions are made for some uses, including for nonprofit libraries, archives and educational institutions (section 1201(d)), as long as a "good faith" determination is made. Libraries are permitted to create digital copies of obsolete works for purpose of preservation, but those works must not be commercially available for a "reasonable price" and can only be accessed onsite.

The Petition

The Video Game History Foundation (VGHF) has been working with the Software Preservation Network (SPN) since 2021 on a petition to the U.S. Copyright Office, proposing that the DMCA digital copying exemption be expanded to allow access to games outside of the physical premises of an institution. A study published by the VGHF in July 2023 estimated that 87% of video games released in the US before 2010 are "critically endangered" and inaccessible, being out of print in either physical or digital form. Options to play classic games are limited as many require vintage hardware or are no longer available on a digital storefront, potentially pushing consumers and researchers towards piracy as the most convenient means of access.

The petition's main argument is framed from the perspective of fair use: works kept by archives and collections are exempt from copyright infringement laws if they are used for purposes such as research or teaching. To enable this, the SPN proposed a system of user vetting and copyright notices, allowing institutions to restrict access only to users who submit a research request detailing the scope of their project and providing notices to remind them that their access is subject to copyright law.

The requirement of having to request specific access ensures that games are being used for research purposes, with the SPN citing "academic literacy" as a way of filtering out users planning to access them for entertainment. The USCO already allows institutions to lend other forms of media remotely, and the SPN argued that the DMCA's stringent rules around distribution of software programs places impediments on video game scholarship that are not present in other disciplines.

Arguments Against

The Entertainment Software Association (ESA), a trade association representing the U.S. video game industry, opposed the SPN petition, stating that the exemption would leave rights owners insufficiently protected and that the market for classic video games would be damaged. The SPN's proposed method of fair use vetting was dismissed by the ESA as "illusory", arguing that this was not enough justification for the breadth of use they would enable. It would be too difficult for libraries to supervise multiple users remotely accessing games, thus enabling usage for entertainment purposes.

Furthermore, the ESA contended that the market for classic video games is "vibrant and growing", citing the number of titles currently available on digital storefronts such as the Xbox Game Pass, not to mention frequent re-releases of individual titles on modern systems. That a game is "out of print" does not mean it is lost forever, only that the copyright owner decided not to put it on the market. Allowing widespread remote access to classic games would present a serious risk to the market and prevent copyright owners from enforcing their copyrights.

The USCO Ruling

The USCO observed that, for a fair use exemption, access to the games would have to be guarded against recreational use by containing "appropriately tailored restrictions". The view taken by the ESA on the SPN's proposed restrictions was echoed by the USCO, which ruled that they were not specific enough to prevent market harm and that the SPN had not met the burden of showing that allowing simultaneous remote access by multiple users was likely to be fair.

Regarding the claims of market damage put forth by the ESA, the USCO acknowledged the evidence presented of a "substantial market" for classic video games, and the SPN's concession that the industry has made a greater effort in recent years to reissue older games. Considering these arguments, the Register ultimately rejected the petition, but recommended clarifying the wording used in the DMCA to reflect that a computer program may be accessed by as many individuals as the institution owns copies.

What Does This Mean?

As a newer form of digital media, U.S. law has yet to settle on a definitive classification of what copyrights arise from a video game. A common view is for games to be treated as computer software and for the source code to be considered a literary work. However, unlike "traditional" literary works such as books or newspapers, the interactive nature of a video game makes regulating access to it more complicated.

Games are often limited to their corresponding hardware, potentially leading to research costs going up as researchers may be forced to travel long distances or somehow purchase a retro console for themselves; not to mention potential consideration of extra-legal methods. Researchers are pushed into focusing on works that are easy to access rather than those they have a true interest in studying. Teaching is also affected: academics cannot assign their students games with historical or technological significance if they may not be able to access them (for example,  the original Metroid Prime (2002), noted for its female protagonist and being the first game in the series to use 3D graphics, is only available on the GameCube). This curtails the growth of video game studies, introducing obstacles to a field with deepening cultural impact and technological advancement.

In their submission to the USCO, the SPN compared the rise of video games to the film industry, highlighting the creation of the National Film Preservation Board in 1988 as a way of recognizing that films are a part of cultural heritage, worthy of academic preservation and study. Whether games will ever reach that status remains uncertain: they make up a large part of our cultural and entertainment landscape today and it's clear that they are here to stay, but only time will tell whether the USCO's attitudes change.

Man, come the fuck on....

i think CEO's should be rounded up and shot personally

[asestimationsconsultants]

The Role of Construction Estimating Services in Enhancing Client Relationships

Introduction

In the construction industry, strong client relationships are essential for business growth and success. A key factor in building and maintaining these relationships is the ability to provide accurate and transparent cost estimates, stay within budget, and ensure high-quality work. A construction estimating service plays a vital role in this process by helping contractors present detailed, clear, and reliable estimates that foster trust and satisfaction among clients.

This article explores how construction estimating services contribute to strengthening client relationships by improving communication, managing expectations, and ensuring financial transparency throughout the project.

Building Trust with Accurate Estimates

One of the most critical aspects of client relationships in construction is trust. Clients want to know that the contractor can deliver the project on time, within scope, and most importantly, within budget. Providing accurate and reliable estimates is essential for earning and maintaining this trust.

A construction estimating service helps build client confidence by:

Providing Detailed Estimates: Offers clear and thorough breakdowns of costs, including materials, labor, and overhead, helping clients understand exactly what they are paying for.

Ensuring Transparency: Clients can see where every dollar is being spent, which reduces concerns about hidden costs or overcharging.

Real-Time Updates: With real-time data, clients can be kept informed of any changes in pricing, material availability, or labor costs, fostering trust throughout the project lifecycle.

Accurate estimates lead to a stronger sense of trust, as clients are reassured that they are not facing hidden or unexpected costs down the line.

Managing Client Expectations Effectively

Managing client expectations is one of the most challenging aspects of construction project management. Without clear communication and realistic cost projections, misunderstandings and disputes can arise.

A construction estimating service helps contractors manage client expectations by:

Setting Realistic Budgets: By providing accurate cost estimates from the outset, clients are better prepared for the financial commitments involved in the project.

Providing Detailed Timeframes: Many estimating services also offer project scheduling tools, which help provide clients with clear timelines, reducing the risk of missed deadlines.

Identifying Potential Risks: Estimating services can flag potential issues that could arise during construction, allowing contractors to discuss them with clients in advance and prepare contingency plans.

By presenting realistic expectations and proactively addressing potential challenges, contractors can avoid surprises and build stronger relationships with clients.

Enhancing Communication Through Clear Reporting

Effective communication is a cornerstone of any successful client relationship. A construction estimating service facilitates communication between contractors and clients by providing clear, concise, and up-to-date reports that outline project costs and progress.

Some key ways estimating services enhance communication include:

Real-Time Reporting: Clients can access live, up-to-date reports that show the status of their project, including expenditures, completed work, and remaining costs.

Visual Cost Breakdown: Detailed reports that break down costs by category (materials, labor, equipment, etc.) allow clients to clearly understand how their money is being spent.

Customizable Reports: Estimating services often allow contractors to create reports tailored to the client’s specific needs, whether they require high-level summaries or detailed cost breakdowns.

With easy-to-understand reports, clients feel more involved in the process and are better informed about their project’s financial and operational status.

Reducing Disputes and Misunderstandings

Disputes can arise when clients feel they were misled about costs, project scope, or timelines. A construction estimating service minimizes these risks by providing precise estimates and clear communication from the beginning of the project.

By using estimating software, contractors can:

Avoid Scope Creep: A detailed and accurate estimate helps define the scope of work and prevents additional costs from accumulating without client approval.

Address Change Orders: Estimating services allow contractors to easily incorporate change orders into the original estimates, ensuring that clients understand the financial impact of any project modifications.

Track Adjustments and Updates: Changes in project requirements or costs can be quickly reflected in the estimate, keeping clients up-to-date and reducing confusion.

Accurate estimates and transparency throughout the process help reduce the chances of disputes and ensure that clients feel their interests are being protected.

Improving Client Satisfaction Through On-Time, On-Budget Completion

One of the ultimate ways to build a strong relationship with clients is to complete the project on time and within budget. A construction estimating service plays a major role in making this possible by offering accurate estimates that help contractors stay on track throughout the entire project.

The benefits of accurate cost estimation and forecasting include:

On-Time Completion: With accurate project timelines and realistic labor/material forecasts, contractors can stay on schedule and avoid delays that might frustrate clients.

Within Budget: Accurate cost projections ensure that all project expenses are accounted for, helping contractors stay within budget and avoid cost overruns.

Quality Assurance: Estimating services ensure that quality materials and skilled labor are included in the budget, resulting in a project that meets or exceeds client expectations.

Delivering projects on time, within budget, and to the desired quality will leave clients satisfied and more likely to recommend your services in the future.

Building Long-Term Client Relationships

The goal of any construction company should be to build long-term, repeat client relationships. Satisfied clients are more likely to return for future projects and refer your services to others. A construction estimating service can help cultivate long-term relationships by:

Delivering Consistent Results: With accurate estimates and well-managed projects, contractors can demonstrate reliability and expertise, making clients more likely to work with them again.

Promoting Client Trust: Transparency and effective communication foster trust, which is the foundation of any long-term client relationship.

Creating Opportunities for Future Business: By consistently delivering accurate estimates and high-quality work, contractors can position themselves as trusted partners for future projects.

Long-term client relationships are built on trust, transparency, and reliability—three areas that construction estimating services help improve.

Conclusion

A construction estimating service is not just a tool for calculating costs; it is a powerful asset that can strengthen client relationships. By providing accurate, transparent estimates, improving communication, managing expectations, and reducing disputes, estimating services help build trust and client satisfaction throughout the construction process.

In the competitive world of construction, clients value contractors who can deliver on their promises. With the support of a professional estimating service, construction companies can ensure that projects are completed on time, within budget, and to the highest standards, leading to stronger relationships and repeat business.

[goblincow]

401% FUNDED | ONLY 5 DAYS TO GO!!

Field Agent Handbooks: Observancy Dept. 1924–28

Sharpen your ESP skills and seek out suspicious activity as a pendulum-dowsing Field Agent

This set of four Field Agent Handbooks are an always-on solo RPG/LARP to play with when out and about. They’re created as in-world artefacts from the 1920s, made for you to note your observations about the world around you through a lens of suspicion. 

1924 – Revolution

We suspect the animal kingdom of plotting a revolution and you are here to help us understand their devices.

Our mission in the Observancy Department is to spot any such behaviour or signs of suspicious activity, note them down, and draw our conclusions.

Additional pages include:

Blank map with grid references

Table of potential signs of revolutionary activity

List of weather types and symbols for notation

1925 – Leviathan

The age of flight may still be in its infancy but we have heard worrying reports from our aeroplane and dirigible pilots of glimpses of giant beasts roaming the aether, just out of sight.

Our fresh mission is to observe the clouds, look for unusual shadows & formations, and attempt to discern the activity and anatomy of these sky-bound leviathan.

Additional pages include:

Common anatomy of leviathan (hypothesised)

Illustrated chart with types of clouds and symbols for notation

Illustrated chart for estimating distance to horizon

Table to identify the Beaufort Number for the wind

List of weather types and symbols for notation

1926 – Communication

While we looked upward, we didn't think to concern ourselves with the growing cacophony in our very own gardens, forests, and fields.

Our mission turns to our leafy neighbours to see if we can understand their speech and intuit their meaning throughout each season.

Additional pages include: 

Signs and shapes to look out for

Size estimation chart

List of weather types and symbols for notation

1928 – Giants

From the landscape sprung the flowers, but who formed the landscape? Newly uncovered texts indicate the folklore might be true and giants may have indeed roamed and shaped the earth.

Our mission is to lower our gaze to the ground to identify oddly shaped mounds, mimetoliths (rocks resembling faces), gouged earth, and suspicious urban planning decisions. Under the hills there may be sleeping colossus.

Additional pages include:

Signs to look out for

Common rock types

How to draw landforms & rocks in an isometric fashion

I wanted to shine a light on this project because I met Luke at Dragonmeet in December '23 and fell in love with the way he thinks about RPGs, graphic design and play/ritual/thinking-the-world in his games!

I can't recommend this project enough and I've been waiting excitedly to support it and see it succeed! It really represents everything I think is special about RPGs and the things I also want to explore in this design space *and art movement* and if you have any interest in TTRPGs beyond the scope of dungeon games, Luke is making some of the freshest and most evocative design you can find in the entire medium.

Everything you see here is directly from the kickstarter. Go back it! I promise you'll be glad you did, there are few more unique and inspiring things you could spend your money on in TTRPGs right now!

[drchenquill]

Writer Questionnaire~

Thank you @the-golden-comet , @kaylinalexanderbooks and @the-letterbox-archives for the tag!

how long have you had your writing tumblr/writeblr? a fast and loose estimate is fine!

I think a couple of months.

what led you to create it?

I wanted to find a place to share and talk about my stories and OCs and meet other creative minds.

what’s your favourite thing about the writeblr community?

The support. The overflowing creativity that inspires me to keep writing and the lovely people I've met so far.

what’s one thing you’d like your mutuals to know about you?

That I appreciate every type of interaction, really. Even if you want to reach out to ramble about your stories, I always welcome it. ( Although I won't do the first step because I'm socially anxious and awkward)

is there anything you’d like to see more of on your dash?

I like my dash how it is, but I would love more positivity, any kind of positivity. People need to know that they are loved and appreciated, because everyone is.

which wips or writing projects are you noodling about, lately?

I'm currently writing on a WIP called "Daisy." It's a werewolf romance story with some drama sprinkled in.

how long have you been working on them?

God, I don't know. Long? I often forget because I work on others in between so I lose track on when I started what.

do you remember what inspired them/what got you started?

It was born in my "Wattpad-werewolf-story" era. (I'm embarrassed to admit it, but I basically inhaled those type of stories)

how much time, in your best estimation, do you spend thinking about them?

A lot.

when someone asks the dreaded, “what do you write about,” question, what do you usually say?

I usually say I write fantasy-romance, which is just the tip of the iceberg. I don't usually talk about what I write outside of Tumblr, other than my family, and they know exactly what I write about. (I basically force it down their throat)

name any characters you created. side characters, protagonists, antagonists, characters who’ve never been written, the first original abomination you ever pulled from your ass; whomever you’d like!

Oof, my OC list is way too long for this. I'm just going to mention the ones I mentioned here more often:

Leon Martens - Kilian - Margaret Robins - Kiki - Azul - Sophie

who’s the most unhinged?

Okay, I think it would be Atlas. I never, ever, mentioned him, but he is bat shit crazy. One of the first scenes of his story, he jumps from one moving car to another, laughing like a maniac. But right after him comes Azul.

who comes the most naturally for you to write?

I think Azul.

do you ever cringe at them?

Yeah, sometimes I write some cheesy sentences and cringe a bit, but I love it~

how much control do you feel you have over your characters? do they ever “write themselves,” refuse to cooperate, or do things you didn’t expect? to what degree? are some less cooperative than others?

NONE. These bastards don't care what I have planned for them, they just do what they please.

do you enjoy people asking questions about your characters? and do you have a preferred means of receiving said questions? for example, as asks, as replies, as reblogs, as tag notes, as comments on ao3, etc.

I love, love, love, love getting questions about my babies. In any shape or form.

what makes you want to follow another writeblr account? do you follow ‘em as you see ‘em, or take time scoping out the blog to make sure you align with its content? do you follow based on wips, or vibes?

I follow based on vibes, I think. But mostly because I'm very much interested in the stories.

what makes you decide against following?

Easy, if I feel like they are a bad person or if our morals don't align.

do you interact with non-mutuals often?

Not that often.

do your mutuals’ characters occupy space in your noodle?

YES! A LOT! Some honorable mentions: Dr. Tievis, brought to life by the lovely @finickyfelix (he is a little meow meow. I know he wants to fuck monsters, but nobody is perfect.) Vesperine by another lovely person @theink-stainedfolk (she is beauty, she is grace) Marsh by yet another lovely person @paeliae-occasionally (I know he kills a lot, but I don't judge a man by his hobbies) and recently I've wanted to adopt Tenshi by the lovely @the-golden-comet (but I was told someone was faster)

This is just the top, there are so many more because you lovely people have such a beautiful and creative minds that you always amaze me with your creations.

~~~`

Thank you for reading this far. I love you~ (very platonically but very affectionately)

Tagging for this with no pressure @theink-stainedfolk , @finickyfelix , @thecomfywriter , @paeliae-occasionally , @davycoquette , @oliolioxenfreewrites open tag~

[sgiandubh]

Reading comprehension

This info is currently making the rounds in the fandom:

The uber-intelligent Mordorian Sopranos are already chanting the end of OL. 'No Season 8, karma is a bitch' and all the rest.

Ahem. Not at all. Quite the contrary. Let's do a very brief overview, ok?

More than 10% out of a total of 670 employees would roughly mean between a clear minimum of 67 and a possible maximum of 99 ('high in the double digits , but less than 100'). Worldwide - not just the UK.

Considering the fact that we now know that the wide majority of the people involved in the OL production are freelancers, we then restrain the scope of our estimation to those with *** employment contracts in the UK. My best guess? Somewhere between 5 to 10 people tops. This estimate is based on the possibility of the 10% cut being made on an uniform basis, which is unclear: it could be 20% at HQ and 5% elsewhere (Latin America or Canada or other US subsidiaries). I think it's mostly about office staff, not production.

On which planet would 10 people being fired compromise the whole future of a project of OL's amplitude?

Typical preparatory move for merger/acquisition. If they want to look good in front of a new partner/potential owner, they must be interested to show off their best china & finery: OL. It's common sense, ladies: we don't go on dates in a frumpy tracksuit, do we?

Subscription figures look good-ish enough to me.

But hey, why miss an opportunity to simply bitch, when you have no idea of the things you are talking about and apparently also no reading comprehension skills?

Back in a (short) while.

[deepdive002]

An Apology

About 2 weeks ago I posted an art gig on Tumblr. There, my price estimate was probably off by a factor of 5.

I hadn’t really thought about it. If the gig is like a part time job and you are not working weekends and my timeline was 512 hours and my budget was $512 that would be about $5/hour. I’m kind of embarrassed about that.

In this repost, I’m boosting the price to 150% and asking for 1 image instead of 3.

With this adjustment it’s more like $16 an hour. I know $16/hour isn’t great in 2024, but the timeline isn’t certain. If you can get it done in 256 hours (about 10 days) instead of 512 hours (about 20 days), then you would be making $32/hour.

Everyone who applied to my last post will be included in this new selection at the new price, but please re-apply here if you can.

The Image: A Diverging Path

I need an image of a diverging path with fame and fortune to the left and connection and knowledge to the right. Like this:

Please review the updated details of the project on my new Reddit post. If you have time, you can see the full scope of my website for political live streamers on my other Reddit post about it.

Shout Outs:

I had some comments on my last post that really hurt. If @beesmygod and @sparkledog could review this new post and let me know if we can be friends, that would be awesome. If that's not possible I understand.

I also had some very supportive comments. If folks like @honestlyvan, @ex-libris-craux, @flavorgate, @nerdygirl2000bbse, @bambambunny, @bliss-bliss-bliss-bliss or @shining-dawn are up for helping me find an artist again, I would be grateful.

I look forward to working with you!