Table of contents
For the same three-minute film, two quotes can differ by a factor of two. The gap is not margin; it is configuration — how many people shoot, for how many days, how many post layers, who voices it. Reading the quote structure beats haggling.
1. Five Cost Lines
Creative and script: planning, copy, storyboard. Pre-production: location scouting, cast and props, shooting schedule. Shooting: crew, equipment rental, transport and accommodation. Post: editing, grading, effects, music. Delivery and revisions: multiple outputs, revision rounds.
Shooting and post are the elastic lines; creative and pre-production are not. If a quote merges all five into one number, expect variation orders later.
2. Why the Same Film Costs Different Amounts
| Variable | Lower-cost approach | Higher-cost approach | Effect on the film |
|---|---|---|---|
| Crew | Three-person unit | Director plus lighting and camera team | Stability and staging |
| Shooting days | Everything in one day | Multiple days by location | Authenticity |
| Equipment | Standard body and lights | Cinema camera, dolly, crane | Texture and movement |
| Post | Edit plus basic grade | 3D, compositing, fine grade | Visual persuasion |
| Audio | Stock library | Custom recording and licensing | Emotion and rights safety |
Crew configuration drives on-set efficiency. A small unit moves quickly but simplifies whenever staging gets complex; a full crew costs more but gets more shots right the first time.
3. Three Pricing Models
Per piece: one fixed price covering everything, suited to well-defined briefs. Per day: shooting billed by day with post separate, suited to lots of footage and simple post. Per person-day: director, camera, lighting and grip priced separately, suited to long-term partnerships.
None is inherently better. Projects with changing requirements get expensive under per-piece pricing; clear briefs waste management effort under per-person-day pricing.
4. Where to Cut
Cut locations before shooting days. Fewer locations shot well look better than many shot shallow. Then cut effect layers — audiences trust real footage more than spectacle. Avoid cutting voiceover and music: sound carries perceived quality and concentrates rights risk.
Post timelines are routinely squeezed too far. Allowing two fine cuts is worth more than half a day of extra shooting.
5. FAQ
Does the quote include talent? Usually not, or only extras. Professional talent is billed separately; specify likeness usage and duration.
How many revisions are included? Typically one rough cut and two fine cuts. Confirm and write it into the contract.
Who owns the footage? State it explicitly. Secondary editing and placement rights should be a separate clause.
Can we judge on the final film alone? Not advisable. Process determines delivery certainty; a showreel only shows outcomes.
Related See also our notes on ad film versus corporate video and production checkpoints.
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