The more equipment needed (lighting, green screen, other filming equipment or props) and the more staff on the job, the higher the overall fee will be. Note that many shows are edited on Avid, which a number of professionals prefer for larger projects. The set rate would cover the projected number of hours on the project overall including pre-production work, filming and post-production work. There’s another idea that both Jon Ettinger and Dave Williams embrace, and that’s the notion of co-opetition. As Jon Ettinger of Beast says, “What we’re focused on selling now is first and foremost creativity, along with the promise that we’ll get the job done, no matter what.”. He also knows that looking at the big picture. Try to ask what they have budgeted for editing the project before you state your rate. Among the first questions asked by new video editors are these: “What should my video editor rates be?” and “How much should I charge for my video editing services?” Although there are no quick and dirty, magic-bullet answers, we’ve done the research to break it down for you. She also recommends that freelancers try to increase their rates by moving between companies in order to help bump their rates up, as it’s more difficult to negotiate a higher rate when you’ve been working at the same place for a lower rate. That’s how many weddings there are in the U.S. every year. How many degrees of separation there are between you and someone you want to work with someday? My Memory Portfolio charges an additional 55 cents per mile beyond the 50-mile round trip service range. Deposits protect both you and the event videographer. Ask yourself not just how they’re different, but how they might complement your business. Those in the medical field know what’s considered “reasonable and customary”; plumbers, cabinet makers, and roofers are aware of the going rates in their markets; even body modifiers and tattoo artists can easily find out how much their competition is charging. He has (literally) written the book on the wedding industry, and has decades’ worth of practical advice about how to make money as an event videographer. If you think that sounds rather similar to what the event videographers were saying, it’s because it holds true across the business sectors. Time on the clock might include consulting with clients about goals, setting up and filming at the event, and doing post-production work such as editing, music overlay and more. The length of time a videographer is required to be at an event affects the cost of services. But that doesn’t mean that you can’t join forces for the sake of landing a project. For larger projects, some pros offer a set rate once they determine the client's needs and goals. There are few absolutes in this industry. If you frame the conversation in terms of value (“How valuable to you is the editing of this project?”) you’re more likely to arrive at a higher number. When you have only thirty seconds to tell a story, every frame counts. Even skilled editors with numerous prestigious titles in their resumes don’t pull in the kind of rates that a commercial or high-end corporate editor can. Millions of people ask Thumbtack for help with their projects every year. And then there’s motion picture editing, which wasn’t even a thing until roughly a hundred years ago. What used to be a clearly defined vertical model has become much more horizontal.”. They may do it for the love of storytelling, or because they’re passionate about the subject—or for building their reels. When negotiating your rate for a documentary, keep that in mind. Not all event videographers require a deposit, but whether you pay one or not, be sure to get a clearly written contract that outlines any fees already paid, the event date and details, turnaround time for the video and expected product results. In most industries, professionals know how to bill for their services because their respective industries have been around for hundreds of years. Info courtesy of Blue Collar Post Collective. Some videographers charge a standard hourly rate for all of their services, while others have different hourly rates for different services, depending on the level of expertise required. Some clients will always be motivated by price over quality, while others are accustomed to dealing with hourly rates and insist on negotiating accordingly. Plus, knowing your competition can only help you formulate the best way to sell yourself and your unique talents. The Guild specifies how many days comprise a straight-time workweek, how many hours in a day before overtime kicks in, and even how much a missed meal will add to your weekly paycheck. In addition, the more raw video footage the videographer records and has to edit, the higher the fee. That said, an experienced New York-based documentary editor might expect to earn approximately $2500/week at the bottom of the scale and up to $4500/week at the top. The rates that people charge for such services can range from $25/hour to ten times that. During the three years it took her to go from assistant to full editor, her rate increased incrementally from $800/week to $1300/week for lead assistant. After that, she was able to raise her rate as a full editor to $2150/week, but notes that other editors she’s worked with who have stronger negotiating skills might earn more like $2400-$2800/week. Here are a few tips that can help you be a more effective negotiator. Popular requests from clients include taking raw footage of an entire event, recording and editing a full feature film (usually 30-40 minutes), or recording the event and then creating a highlight reel or short video (often 3-4 minutes). Factor in operating expenses such as equipment, software licenses, professional dues, advertising costs, health insurance, etc. Even if you’re provided with a full-time position. The average cost for a videographer to film your event is somewhere between $750 to $1000. If working on Hollywood feature films is the holy grail of editing jobs, then the bible of editorial rates is the Motion Pictures Editors Guild wage scale. We’ve spoken to experienced editors who have earned anywhere between $2500 and $4500/week for independent feature work. Some video production companies set their prices based on the runtime of the final video. More material means more post-production work in the editing process — and more time overall. If you’re new to this, you may feel as though you’re throwing darts in the dark for awhile. Larger events and a more elaborate vision could require multiple cameras and multiple crew members on-site the day of the event. Histogram of commercial and corporate video hourly rates for post-production professionals. He started out as an engineer but pursued his desire to make motion pictures. On top of that, there are bar and bat mitzvahs, memorial tribute videos, birthdays and quinceañeras, and all sorts of corporate events including awards and honors, parties, and trade shows. Wedding videographers also typically charge a bit more because of the logistics of ensuring that the entire event is captured exactly the way you want. A note to our community regarding COVID-19. That’s another reason why it makes sense to know who’s in your market. Histogram of scripted and unscripted hourly rates for post-production professionals. He’s well aware that editing is more than just cutting pictures. Contact the pros you like to discuss project details. His approach may not be for everybody. John tells us that it’s common for industry newcomers to find out what the established folks are charging, and then undercut that price to take a piece of the pie. Of course, unlike commercial work, for which an editor may be booked for only a week at a time, documentary work tends to require weeks (or even months) of booking. For another, there are still many shows that fall under the union collective bargaining agreement. This will help you set a realistic baseline for what you need to make to at least survive. The end goal, of course, is presenting your brand in the ideal light, and professional video companies have years of video-making experience doing just that. You may not make a lot of money at the time, but investing in getting good work on your reel is part of the cost of doing business. When negotiating with clients, most people instinctively speak in terms of an hourly wage. Read through a videographer's online profile, reviews and portfolio to determine if their aesthetic fits your vision for the final product. In an example of a consistent flat rate, Lee Editorial in North Richland Hills, Texas, charges a set $50 hourly rate for producing, shooting and editing video. Info courtesy of Blue Collar Post Collective. Find a top-rated video producer near you. For professional purposes, a highlight reel can be used as a commercial or to educate viewers about your product or cause. How do you get the highest dollar amount for your work as a video editor? If rates vary for different tasks, those details should be clearly outlined in the contract. And his passion for storytelling has never diminished. “We don’t publish a rate card,” he says. If you’re just starting out you may not have the proven experience (or confidence) to negotiate in those terms. Lead by BCPC co-founder Katie Hinsen, this survey polled nearly 1,200 working post-production professionals (a majority of whom were editors). That’s how many weddings there are in the U.S. every year, no one should ever work just for the “exposure,”, Behind the Scenes: Making a Graphics Package for Nickelodeon, Essential Organization Habits for The Successful Editor. $350-$1,000 for personal event videos for a basic package. Finally, get as much information as you can about the project upfront. $250-$2,000 for nonprofit and corporate videos. His solution: double whatever it is you’re charging. Whenever he completes a project, he posts it on LinkedIn and says that it almost always leads to more work. They’ll likely be less equipped to evaluate your abilities. So the number of editors who do non-union, non-theatrical, non-commercial projects far outnumbers those who do. Note that the extent of the work doesn’t automatically affect day rates, meaning that the highest priced editors don’t necessarily color correct or do the online. For clients who need the highest quality product with no excuses, paying top dollar isn’t a problem. It may be to build a client relationship, to get a high-profile job, or to flex your creativity. Handing over control = risk, which leads them to spend a higher amount on an editor whom they can really trust. For example, Firefly Productions charges a flat, non-refundable deposit of $200 to secure event location services. He’s had to take some side steps to push himself forward at times. If you’re freelancing, you might be surprised at all of the extra things you’ll need. Most of the individuals we spoke with are freelancers who have carved out sustainable careers as working editors. (Hint: he’s fast and good.). But being cheaper doesn’t necessarily get you the job (see the section on negotiating); and if it does, your profit margin is going to be somewhere between slim and nonexistent eventually. Framing the conversation in terms of risk (“How bad would it be if this project were edited poorly?”) can also reinforce the idea that paying more to ensure a high-quality, on-time delivery of the finished product is worth the extra money. As we mentioned, the cost of video production is based on a few factors, including total runtime of the finished video, the number of cameras required, shooting location, and if you’re looking to add graphics. Some video production companies set their prices based on the runtime of the final video. And that means your reputation may precede you. Typically, commercial videographers don’t offer a standard pricing menu.
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