Video projects have the most lines of any creative invoice: a shoot, a crew, equipment, an edit, revisions, and a licence, often across several days. When all of that collapses into "Video production — $6,000", the client cannot approve it and cannot ask for a change without reopening the whole number.
Build the shoot from day rates and roles
Start with shoot days, one line each. Add a line for every crew role on every day — camera operator, sound recordist, gaffer, second shooter, drone operator — so a two-day shoot with a three-person crew reads clearly. Specialist equipment that carries its own rental cost (cinema lenses, lighting packages, a gimbal rig, a studio) goes on separate lines, with receipts where it is a genuine pass-through. Travel, accommodation, and parking are their own lines too.
This structure means a client who wants to cut the second day, or drop the sound recordist, can see exactly what that saves.
Price each deliverable, not "the video"
List what you are actually handing over: the main film at its finished length, plus any cut-downs, vertical versions, captioned versions, or a teaser. Each is extra work and each is a line. "2-minute brand film" and "three 15-second social cut-downs" are different deliverables even though they come from the same footage.
Separate the licence from the edit
The edit is the thing; the licence is permission to use it. Spell out the grant — platforms, territory, and duration — on its own line: "Licence — web and paid social, 12 months, national". A full buyout, where the client can use the film anywhere forever, is a different line at a different price. When the client comes back in a year wanting to run it as a TV spot, you have a clean basis to quote the extension.
State the revision limit inside the edit line
Put the number of included rounds in the edit description — "2 revision rounds included" — so it is part of what the client approved. Then set out what a further round costs, hourly or fixed, and define a round as one consolidated set of notes. This stops a drip of single-line change requests from turning into unpaid re-edits.
Set the raw footage and archive policy
Say how long you keep the raw and project files — 90 days is a reasonable default — and that releasing them is a separate, priced item. If the client does license the raw footage, note that your edit approval no longer applies to whatever they produce from it.
Take a booking fee and set delivery terms
A 50% booking fee confirms the date and covers pre-production. Show it as paid or credit it against the balance, and reference its invoice number. State that final files are delivered once the balance is paid, and name the delivery method and format — a download link, ProRes plus H.264, at the agreed resolution.
Tax treatment for video work varies by country and by whether you are registered, so check your position rather than copying a rate. None of this is tax or legal advice; the rate you finally charge is a matter for your accountant.
Before you send
- Your name or company, address, and tax number
- The client entity and a billing contact
- A unique invoice number and both dates
- Shoot days and crew roles as separate lines
- Equipment, travel, and studio costs itemised, with receipts for pass-throughs
- Each deliverable priced on its own line
- A licence line stating platforms, territory, and duration
- Revision limit inside the edit line; further rounds priced
- Raw footage and archive policy noted
- Booking fee shown as paid or credited; delivery terms and format
Set your shoot and deliverables above and download the PDF. A free NeatDue account keeps clients and job numbers on file so every project invoice follows the same layout.