Video projects have more moving parts than almost any other freelance work. A two-minute brand film can involve a half-day shoot, a crew of three, a licensed music track, a 16:9 hero cut, three 9:16 social edits, captions, and a client who asks for "the raw files" a week after delivery. A videography contract spells out each of those pieces so the edit does not turn into an open-ended service.
This template fits freelance videographers and small production teams doing brand films, testimonials, event recaps, explainers, and social content. It treats shoot days, post-production, music, and rights as separate terms.
TL;DR
The videography contract template covers shoot days and hours, crew and kit, deliverables listed by length and aspect ratio, music licensing, two revision rounds before picture lock, delivery format, raw-footage terms, usage rights, and cancellation. Send it with a 50% deposit invoice after the client approves the brief, and list every cut separately so nobody expects extra versions for free.
What's inside
- Production schedule — shoot dates, call times, locations, and hours per day.
- Crew and equipment — who is on set and what kit is included or rented.
- Deliverables table — each cut with length, aspect ratio, captions, and delivery date.
- Pre-production duties — script, shot list, talent, locations, and permits.
- Music, footage, and talent — licensing tiers and who pays.
- Post-production and revisions — rounds, picture lock, color, sound, and graphics.
- Delivery and archive — formats, file transfer, and how long footage is kept.
- Rights and usage — license to the final cuts, raw footage terms, portfolio use.
- Fees, overtime, cancellation, and weather — payment milestones and day-rate overtime.
When to use it
Use this contract once a client approves a video production proposal and you have a video brief to anchor the scope. It suits projects from a single interview shoot to a few days of production.
For larger productions with multiple phases and a long deliverables list, attach a video production SOW as a schedule. For photography-only shoots, use the photography contract.
Music licensing, drone rules, and filming permissions vary by location. Have a lawyer in your jurisdiction review the filled-in contract once before reuse.
How to scope edits, music, and footage
List cuts, not "a video." Each deliverable needs a length, aspect ratio, and purpose: a 90-second 16:9 hero film, three 30-second 9:16 cutdowns, a 15-second bumper. Captions, burned-in subtitles, and translated versions are separate line items.
Picture lock is the line. Revision rounds before picture lock change the story and structure. After lock, the edit is frozen and only color, sound, and graphics are finished. Changes to a locked edit cost time and should be billed hourly.
Music licensing matches use. A track licensed for web and organic social may not cover paid advertising, broadcast, or cinema. Name the license tier in the contract and say the client pays for any upgrade if the video's use expands.
Overtime on shoot days. Day rates usually cover 8–10 hours including setup and pack-down. Overtime in hourly or half-day blocks protects you when interviews overrun.
Raw footage is a different product. It is large, ungraded, and often contains material the client has not cleared. If you supply it, charge for storage and transfer and grant a narrower license.
Customize it in your COLO workspace
Keep this as a reusable template in COLO Contracts and send it through the client portal for signature by typed name or signature image. Invoice the deposit and balance from invoicing and payments, with partial payments supported.
Track pre-production, shoot days, edit rounds, and delivery as tasks in project management, and share review links in project chat so feedback stays attached to the right cut.
Common mistakes
- Unlimited revisions on the edit. Two rounds before picture lock is a reasonable default.
- Music left to the end. Agree the track and license early; swapping music after lock often means re-editing.
- No weather clause for outdoor shoots. Set a decision time and a backup date.
- Forgetting talent releases. Anyone recognizable on camera in marketing needs a signed model release.
- Treating the archive as permanent. State how long you keep footage.
FAQ
Q: What should a videography contract include?
Shoot dates and hours, crew and equipment, the list of deliverables with length and aspect ratio, music licensing, revision rounds, delivery format and timeline, raw footage terms, usage rights, and cancellation.
Q: Who pays for music licensing in a video project?
Usually the client, either directly or re-charged by the videographer. The license tier should match where the video will run, since broadcast and paid advertising licenses cost more than web-only.
Q: Should a videographer hand over raw footage?
Raw footage is not normally included. If a client wants it, charge separately for the drive, transfer time, and the extended rights, and say the footage is ungraded and unedited.
Q: How many revisions should a video edit include?
Two rounds on the main cut is common, with the first round for structure and the second for fine changes. Changes after picture lock are billed hourly.
Q: Can I use this for wedding films?
The core terms work, but wedding films need event-day clauses like coverage hours, meals, and postponement. Borrow those from the wedding photography contract or add them to this one.