The things worth knowing before you commit.

It depends what was measured and whether anything was put behind it. The best UK evidence — a 141-brand econometric study covering £1.8bn of media spend — puts advertising at £1.87 profit per £1 in the short term and £4.11 over a full twenty-four months.

The more useful number from it is that 58% of the profit arrives after week thirteen, which is why a campaign judged on a thirty-day window so often reads as a failure. Every figure we use, and the objection to each one, is on the evidence page — including the studies we refuse to quote and why.

It depends which of three things you are buying — a day of our capacity, a finished film, or the team on retainer — and all of it is priced on one page rather than hidden behind a call.

A crewed shoot day is £1,450 a day, an edit day £450 a day, the smallest commissioned film £3,750 and a content day £6,750. A brand film starts at from £9,500 and a production programme at £2,400 a month. Every one of them is on that page with what you get for it.

No, and it works out better for you than one would. A percentage off a finished price funds a markup too small to change how you price the job to your client, so it buys you very little.

Agencies and production companies buy days at list and build their own margin on top. You keep the client, the relationship and the markup — and there is nothing to negotiate before you can put a number in front of them.

Talent and casting, locations and studio hire, permits, specialist kit that has to be sub-hired, travel and accommodation, and music or stock licences.

These are quoted separately and at cost rather than marked up, because they are the costs most likely to change after a brief is agreed.

Additional shoot days, extra crew roles on the day, casting and buyouts, locations and permits, studio hire, travel beyond 35 miles, rush post, deliverables beyond the number quoted, music licensing, and additional subtitle languages.

Anything that is not one of the published products is quoted as days plus a production fee. Naming that up front is deliberate: most quotes move for one of these reasons, and it is a worse conversation to have afterwards.

Thirty days from issue.

A 50% deposit within seven days of you approving the estimate. Work does not start before it arrives.

The balance, plus any agreed extras, is invoiced on delivery and due within thirty days. Production programmes are billed monthly in advance, and established agency partners work on account.

Late invoices carry interest at 8% above the Bank of England base rate, under the Late Payment of Commercial Debts (Interest) Act 1998.

On full payment you get a perpetual, worldwide, royalty-free licence to use every deliverable commercially. In practice that is everything most clients mean by ownership.

Flowspire keeps the copyright and the right to show the work in a portfolio, in award entries and in its own marketing. You cannot resell, sublicense or claim authorship of it without our written consent.

Two, included in every estimate. A round beyond those is £220, as are formats, versions or deliverables that were not in the original estimate.

A significant change of scope after approval needs a new estimate, and will usually move the delivery date.

Ninety days from delivery at no charge, then £50 a month if you want it held longer. After that we are not liable for files that have gone.

Back up what we deliver. Once it is with you, it is yours to keep safe.

Seven or more days before the shoot: nothing to pay. Three to seven days: half the estimate. Inside 48 hours: the first two days' fees in full.

If we have to cancel for something outside our control, your deposit comes back in full.