Video producers plan, shoot, and deliver video for businesses, agencies, nonprofits, and individuals. Typical projects include corporate promos, interviews and testimonials, event coverage, social media content, product videos, and short documentary pieces. Invoices usually cover pre-production, shoot days, crew and equipment, post-production, and revisions.
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Most video producers price by project with a flat fee built from line items: pre-production, shoot days, crew, gear, editing, and deliverables. Day rates are common for shooting and are usually quoted as a half day (up to 4-5 hours) or full day (up to 10 hours), with overtime billed after that. Editing is billed either hourly or per finished minute, depending on complexity. Equipment such as cameras, lighting, audio, drones, and teleprompters is often a separate kit fee. Crew members hired for a job (shooter, sound, gaffer, editor, motion designer) are billed at their rates, often with a markup of 10-20% for coordinating them. Licensed music, stock footage, location fees, travel, and talent are pass-through costs. Retainers are common for ongoing social or monthly content. Revisions are usually limited to a set number of rounds, with extra rounds billed hourly.
| Service | Priced | Typical range |
|---|---|---|
| Producer / project management | per hour | $75-150 |
| Videographer / camera operator (with basic kit) | per day | $600-1,800 |
| Video editing | per hour | $50-125 |
| Motion graphics and titles | per hour | $65-150 |
| Camera, lighting, and audio package | per day | $250-800 |
| Drone operator (Part 107 licensed) | per half day | $400-900 |
| Corporate promo or brand video (1-2 minutes) | flat fee | $3,000-15,000 |
| Social media video package (4 short edits) | per month | $1,500-5,000 |
Typical US ranges. Rates vary by region, experience, and job size.
| Description | Qty | Rate | Amount |
|---|---|---|---|
| Pre-production: scripting, shot list, location scouting, scheduling | 8 hours | $90.00 | $720.00 |
| Shoot day: producer and lead videographer, interviews and b-roll (up to 10 hours) | 1 day | $1,400.00 | $1,400.00 |
| Camera, lighting, and audio kit | 1 day | $450.00 | $450.00 |
| Sound recordist | 1 day | $550.00 | $550.00 |
| Post-production: edit, color correction, audio mix, lower thirds | 22 hours | $85.00 | $1,870.00 |
| Licensed music track (commercial use, single project) | 1 flat fee | $120.00 | $120.00 |
| Total | $5,110.00 | ||
Notes: Price includes two rounds of revisions. Additional revisions billed at $85 per hour. Final files delivered in 4K and 1080p H.264 plus a social cut. Payment due within 15 days of invoice date. A 1.5% monthly late fee applies after that. Footage license transfers to client on payment in full.
Video jobs are often billed in stages, and a clear phase label stops confusion about what each invoice covers.
Backs up day-rate charges and any overtime if the shoot ran past the agreed day length.
Shows the client what they are paying for when a coordinator markup or subcontractor costs appear.
Separating kit fees, drone, and specialty gear from labor makes the invoice easier to approve and shows rented gear passed through at cost.
Music licenses, stock footage, location permits, talent fees, and travel are often reimbursed and clients may ask for proof.
Documents that overages were outside the original scope and ties them to the revision limit in your quote.
Listing formats, resolution, and license terms (duration, territory, media) avoids disputes about what was delivered and how it can be used.
Agencies and larger companies often will not process payment without one.
Most video producers take a deposit of 30-50% before booking the shoot, since crew and gear are committed and dates are held. A common split is 50% upfront and 50% on delivery, or thirds: booking, after the shoot, and on final delivery. Final files are often held until the last payment clears, or a watermarked review version is shared until then. Net 15 or Net 30 is typical for businesses, and agencies sometimes push for Net 45 or Net 60, so confirm before you start. Late fees of 1-1.5% per month are common if stated in the contract. Payment is usually by ACH, check, or card, and card payments on large invoices may carry a processing fee that you can pass on if you disclose it.
Send a watermarked or low-resolution review link for approvals and release the full-resolution files and project files only after the balance is paid. State this in your quote and contract so it is not a surprise.
Shoots involve crew, locations, and talent booked for a specific day. Charge a fee, often 50% of the shoot day, for cancellations with short notice, and bill it as its own line.
Log call and wrap times on each shoot day. If the day passes your agreed length, bill overtime at a stated rate, commonly 1.5 times the hourly equivalent of the day rate.
Music licenses, travel, and location fees can pile up and eat into profit if you wait until the end. Bill them with the stage they relate to, with a markup if your contract allows.
If a client wants broad usage such as paid ads, broadcast, or unlimited duration, list the license as its own line. Fees for usage rights are separate from the cost of making the video.
Most clients prefer a flat project fee because it is easier to budget, and it lets you price based on value and deliverables. Build the fee from hours and day rates internally, set a revision limit, and bill extra work hourly. Hourly billing works better for open-ended edits, ongoing support, or when scope is unclear.
30-50% of the project total is typical, and for a project with large crew or rental costs, many producers ask for 50%. On large projects, you can also have the client pay rental or talent costs directly or in advance.
It depends on the state. Some states tax video production services or the delivered media as tangible or digital goods, and others do not tax services at all. Check with your state revenue department or an accountant, and show any tax you collect as a separate line on the invoice.
Unless your contract says otherwise, the creator generally holds the copyright, and the client gets a license to use the finished video. Many producers transfer rights to the final video on full payment and keep raw footage and project files, or sell them separately. Put this in writing in your contract and refer to it on the invoice.
Define the number of revision rounds in your quote, and say what counts as a round, such as one consolidated set of notes. When the limit is reached, send a short change order or invoice extra rounds at your hourly editing rate. Stating this early keeps the conversation simple later.
Send a Video Producer estimate for approval, then turn it into an invoice when the work is done.
Video Producer estimate template