A day of our crew, a finished film, or the team booked every month. Every price we charge is on this page — there is no version of this where you send a brief and wait a week to find out the number.
Before you read on
All figures exclude VAT and are fixed before we start, not estimates that move. What sits outside a quote, who owns the film and what happens if you cancel are on the questions page , and whether any of it pays back is on the evidence page , sources and caveats included.
Not sure which
Discovery review, £450.
A paid, remote look at what you already have and what is actually wrong with it, back as a recorded verdict you can share with whoever else has to agree.
A call, and a proper look at the footage, the room or the brief
A recorded verdict — what to fix, what to make, what to leave alone
A written next step with a number against it
The fee comes off your first project
Is that a lot?
Judge it against what you already spend.
A number on its own is unjudgeable. The working rule in this industry is that making the things costs roughly 5–10% of what you spend putting them in front of people — more if there is no media behind them at all. It is a rule of thumb rather than a measured fact, which is why it is not on the evidence page . It is still the fastest way to tell whether any of this is for you.
£500–£1,000 a month
5–10% of £10,000 — about £6,000 to £12,000 a year on making the things that run.
Within a year of it
Edit and post day£450 a day
Crewed shoot day£1,450 a day
Event filmfrom £2,900
Single film£3,750
Content day£6,750
Brand filmfrom £9,500
The studio work is not in this list. It is bought by people fixing the room they record in, who often have no media spend at all, so a share of advertising is the wrong yardstick for it.
A day of capacity
Crew, kit and an edit suite, for a day.
You have the job and you are short of people or equipment. Book the day, direct it yourself or let us, and keep the client relationship entirely — it is your job, we are the crew on it. Most of the people who buy this way are other production companies, which is the best reference a crew can have. These are finished days rather than a person's time: the kit, the grade, the mix and the delivery are in the number, not itemised back to you afterwards.
Crewed shoot day
Our crew and kit on your job for the day. You direct it, or we do.
Production companies, AV firms, agencies and in-house teams who have the work and are short of people or equipment.
£1,450 a dayOne operator
£2,400 a dayTwo crew
£4,800 a dayFull crew, with a lighting team
Camera, lighting and sound package included, not itemised back to you
Crew scaled to the day — one operator, or a full unit with a lighting team
A named producer or operator you can speak to before the day
Rushes backed up twice before anyone leaves
Your name on the call sheet if you want it
Edit and post day
A finished day in the edit — cut, grade, mix, versioning and delivery — on your footage or ours. Cut in-house, by our own editor, which is why it costs less than hiring one.
Anyone with more footage than edit time, and a deadline that has stopped being theoretical.
£450 a day
A full day of an editor, not a queue position
Grade and mix included, rather than quoted back as extras
Every ratio and version you need, named to your convention
Our own editor on our own kit — no freelance day rate inside the number, which is why it is the cheapest thing here
Project files handed over if you want them
A finished film
An outcome, scoped and priced before anyone travels.
You have something to say and no crew to say it with. A fixed scope, a fixed number, and a film at the end of it — not a day rate you have to project-manage.
Single film
One shoot day, one finished film, scope agreed before anyone travels.
A company with one thing to say and no crew to say it with.
£3,750
A planning call, and a shot list you sign off
One shoot day with crew, kit and direction
One finished film, plus vertical and square cutdowns
Subtitled masters, and the two rounds of changes that come with every estimate
Content day
One day, one setup, a batch of films cut to a single template.
A marketing team that needs volume without the quality falling over.
£6,750£675 a film
Up to ten short films from a single day
A template built once, so film ten matches film one
Vertical and square versions throughout
Organised, versioned delivery in a sane folder structure
Brand film
The film on your homepage. Scripted, directed, and shot over as many days as the idea actually needs.
A brand with something to say that a single interview will not carry.
from £9,500
A treatment and a script before anything is booked
A full crew, and casting or locations where the idea needs them
A hero film with cutdowns for everywhere it has to live
Separate grade and mix, and stills from the shoot
Event film
Conference, awards or launch — captured, cut and delivered while people still care.
Anyone running an event that has to keep earning after the room empties.
from £2,900
Multi-camera capture, scaled to the venue
A highlights film, cut fast — within 48 hours if you need it
Sessions and speakers delivered in full
Social cuts for the follow-up
The team on retainer
Contracted capacity, every month.
Your real problem is that the content keeps stopping. Selling you a film would be selling you the wrong thing twice a year: what you want is the cadence, which means the team is already booked before you need them.
Production programme
A set number of days every month, booked in advance, on a twelve-month term.
A company that has stopped thinking in projects and started thinking in output.
£2,400 a monthTwo days a month
£3,600 a monthThree days a month
£5,900 a monthFive days a month
Shoot and post days reserved against your name each month
One producer who knows the business, not a rota
Quarterly planning against your marketing calendar
A standing place in the diary, so booking is not a negotiation
And one that is none of the three
Studio design and install.
Your own room, put right — specified, installed and commissioned, then proved on camera. Advisers, planners, coaches, consultants and authors who are themselves the person on camera.
Light, camera height, sound and workflow solved in your own room
A written kit list at three budgets, with prices and links
Before and after recorded and played back, so nothing rests on our word
Teaching until starting a recording is genuinely one button
£550Remote review
£1,650Half-day clinic, on site
£2,900Design, install and commission
£6,400Build and launch
Agencies and production companies
There is no trade discount, and that is the good news.
Agencies and peer production companies buy days at list, the same as everyone else, and mark them up themselves. You keep the client relationship and your margin; we keep the margin on the day. There is no trade percentage to negotiate, which means there is no conversation to have before you can quote your client.
Published here, and nowhere else. One source of truth.
Freelancers paid 14 days from invoice
Whether or not the client has paid us. It is the reason good crew answer the phone.
Anything that is not on this page is quoted as days plus a production fee. Keeping to a published list is what lets us answer a brief in a day rather than a fortnight, and it is why the number you are given first is the number on the invoice.
Quoted separately, at cost
What is never inside the number.
Talent and casting
Fees, usage and buyouts, quoted per campaign.
Locations and studios
Hire fees, permits and council licences at cost.
Specialist kit
Drone, techno crane, large lighting packages, sub-hired.
Travel and accommodation
Anything beyond 35 miles of St Albans, and all international work.
Music and stock
Licences bought in your client's name where they'd rather own them.
The creative stays yours. The production becomes ours.
Send the brief you’re working on now — we’ll come back with an approach, a crew and a number.
Want a number first? The quote builder is linked on that page.
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