Brand Video Production Proposal Template
Video proposals get expensive in the gap between "a video" and what the client pictured. This template fixes the shoot day, the revision rounds and the export formats, then covers the two things freelancers forget until it is too late: music licensing, and how long the client is allowed to run the footage.
Take the whole thing
The scope, deliverables, timeline and client questions — as plain text you can paste anywhere. No signup.
The scope, as written
I'll create a professional brand video that tells your story, showcases your work, and makes your audience stop scrolling. Delivered ready for your website, social channels, and pitch decks — in all the formats you actually need, with the usage rights written down in plain language so you know exactly where you can run it.
How to price this work
We looked for survey-grade pricing for this kind of work across our markets — India, the UAE, the UK and Brazil — and did not find any we would stand behind. What is published is mostly agency price lists, which quote the agency, not the market. Rather than average those into a number that looks authoritative and is not, we have left this blank.
What we can tell you is how to arrive at your own number:
- Start from hours, not a feeling. Estimate the work in the deliverables below, add the revision rounds you actually grant, and multiply by the day rate you need to hit your yearly target.
- Add the invisible work. Calls, briefs, feedback rounds and project management are usually a third of the real time and the first thing left out of a quote.
- Price the outcome where you can. What the work earns or saves the client is a better anchor than your hours — the hours are your floor, not your price.
- Quote one number, then hold it. The scope below is what protects that number; discounting a vague scope is how a profitable project becomes a loss.
What's included
- Pre-production: concept, script, shot list, and call sheet
- One full shoot day — single location, up to 8 hours on site including setup and wrap
- Professional edit with colour grade, sound mix, and licensed music track
- Two rounds of revisions on the edit (each round = one consolidated set of written notes)
- Three format exports: widescreen 16:9, vertical 9:16, and square 1:1
- Written usage licence covering the delivered films across your own web, social, and presentation channels
Worth adding for this kind of work
- Shoot day bounded by hours and locations, with the overtime rate stated
- Music licensing named — who buys it, and what the licence actually permits
- Usage rights and term: where the video may run, for how long, and in which territories
The timeline
- Sign proposal & pay deposit
50% deposit reserves the shoot date and starts pre-production. The deposit is non-refundable — it holds a day I turn other work away for. Payment details sent via WhatsApp.
- Pre-production call
We align on concept, script, tone, locations, and who appears on camera. I'll confirm what I need from you: location access, permissions, people, and any brand assets.
- Locking the shoot day
Script and shot list approved in writing, call sheet issued, and releases sent for anyone appearing on camera. Nothing shoots until these come back signed.
- Shoot day
Full production day on location. I bring and operate all equipment and direct the day from the approved shot list.
- First cut delivered
Rough cut sent via WhatsApp for review. Please gather everyone's notes into one written list before sending them back — that's what keeps the timeline honest.
- Final delivery
All three formats delivered by download link once the balance is settled. Final invoice sent on WhatsApp.
Where this proposal usually goes wrong
Not defining the shoot day.
Eight hours, one location. A crew held over is the fastest way to lose the margin on a shoot.
Ignoring music rights.
State who licenses the track. A client running an unlicensed video in a paid ad is your problem too.
Handing over unlimited usage by default.
Define territory and term. Broadcast and paid social are not the same licence as a website embed.
Questions clients ask about this work
What exactly do I own when the video is delivered?
You get the final delivered films outright, to use in perpetuity across your own website, social channels, presentations, and paid advertising on those channels — that is written into the licence, not left vague. What I cannot hand over is anything I don't own: the music track, any stock footage, and the fonts are licensed, and the people on camera signed releases for agreed uses. Those come to you licensed for exactly the uses we agree. If you later want the film on broadcast TV, out-of-home, or in a market we didn't cover, that is an extended licence I'll quote — usually a modest fee to the rights holders, not a new production. Anyone who tells you they're transferring "unrestricted worldwide ownership of everything" on a brand video is promising you rights they don't hold, and it is you who inherits that problem.
Can I have the raw footage?
It isn't included as standard, and I want to explain why rather than just say no. Raw files from a shoot day run to hundreds of gigabytes of unusable takes, and handing them over means the finished work can be re-cut by anyone into something that carries my name but not my judgement. If you genuinely need them — an in-house team, a longer-term content plan — I'll supply the selected rushes on a drive as a paid add-on, with the same third-party rights conditions attached. I keep the project files and rushes archived for 12 months, so re-cuts and future edits stay possible.
What happens if we overrun on the day, or it rains?
The shoot day is up to 8 hours on site including setup and wrap. Beyond that I'll keep going where I can, charged at an hourly overtime rate agreed before we start rolling — I'll always flag it at the time, never as a surprise on the invoice. Travel beyond the agreed radius, specialist kit hire, permits, parking, and location fees are billed at cost with receipts. For an outdoor or date-locked shoot, we agree a reserve date at pre-production; if weather or a genuine emergency forces a postponement, we move to the reserve at no penalty. If you postpone for any other reason with less than 7 days notice, the deposit holds the new date but a portion covers the day I can no longer fill. Cancel entirely after pre-production has begun and the deposit is retained, plus any third-party costs already committed.
What if I'm not happy with the edit?
Two revision rounds are included, and a round means one consolidated set of written notes — not a trickle of separate messages over a week, and not four people sending contradictory opinions I have to arbitrate. Nominate one person to own the feedback. Notes are capped at 15 per round, which is far more than a good edit needs; if we're past that we have a brief problem, not an edit problem, and I'd rather revisit the script. Changes that contradict the approved script or shot list — a different concept, a different message — are a new scope, quoted before I start. Further revision rounds beyond the two are available at an hourly rate.
What if you become unavailable before the shoot?
If illness or an emergency stops me, I'll tell you immediately and offer the earliest reschedule. If I cannot deliver at all, I refund everything you've paid less work genuinely completed and third-party costs already committed, and I'll introduce you to two videographers I'd trust with my own clients, with the script and shot list handed over so you're not starting from nothing. I carry public liability and equipment insurance; certificates on request.
Can I see references and previous work?
Yes — ask and I'll send recent work in your sector plus two clients happy to take a call. Worth knowing in return: I reserve the right to show the finished film in my portfolio and showreel, and to mention you as a client. If the content is commercially sensitive or under embargo, tell me before we shoot and I'll hold it back or agree an embargo date. Anything you share with me during the project — pricing, plans, unreleased products — stays confidential either way.
A template gets it written. Tracking gets it signed.
You already have the document — copy it above and send it however you like. What a copy cannot tell you is whether anyone read it. Send this same template from ClosingMoment and you will know the moment your client opens it, which sections they read, and how long they spent — so you follow up while they are still deciding.