Videography contract, Northbound Conference 2027 coverage

Videography contract template with shoot days and a delivery table

Video work is quoted in days and judged in files, and the two rarely match up in writing. This contract sets out the crew hours for each shoot day, lists nine deliverables with a length, a format and a date, and answers the two questions clients ask last: who gets the raw footage, and can the music be used in an ad.

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FS
Frame Sixteen
Unit 4, 20 Wentworth Avenue · book@framesixteen.example · framesixteen.example
Videography contract · Northbound Conference 2027 · F16-2027-08Page 1 of 4
Videography contract · Northbound Conference 2027 · F16-2027-08Page 2 of 4
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Videography contract · Northbound Conference 2027 · F16-2027-08Page 4 of 4
Videography contract

This contract is made on 23 November 2026 between Frame Sixteen, of Unit 4, 20 Wentworth Avenue, called the Videographer, and Northbound Events, of 15 Commerce Street, called the Client. It covers video coverage of the Northbound Conference on 18 and 19 March 2027.

$7,400
Fee
2
Shoot days
9
Deliverables
16 Apr 2027
Final delivery
1. The shoot
1.1
Crew and coverage
Two camera operators with three cameras on each day, a sound recordist for the main stage, and one operator on roaming coverage. The main stage is recorded in full from a locked wide and a roaming close, with a direct audio feed taken from the venue desk and a backup recorder on stage. The Client supplies a run sheet 10 business days out, the desk feed, power at three positions, locked overnight storage, crew meals on both full days, and one staff member who can clear a shot.
Day
Call and wrap
What is covered
Crew hours
Wednesday 17 March
3 pm to 6 pm
Bump in, venue plates, sound check with the desk
6
Thursday 18 March
7 am to 7 pm
Keynote, four breakout sessions, floor and interviews
36
Friday 19 March
7.30 am to 5 pm
Panel, three sessions, closing address, wrap interviews
28
Total crew hours
70
2. Deliverables
2.1
What is delivered and when
The table below is the whole delivery. Each item is supplied as a download link, graded and mixed, with captions as an SRT file where the item has speech. Aspect ratios and lengths are as stated, cut to the format rather than cropped from a single master.
Item
Quantity
Length
Format
Delivered by
Social teaser, day one
1
30 seconds
9 by 16
19 Mar, 9 am
Highlights film
1
3 minutes
16 by 9
2 Apr
Session recordings
4
Full length
16 by 9
9 Apr
Speaker cut downs
2
60 seconds
1 by 1
16 Apr
Sponsor thank you
1
45 seconds
16 by 9
16 Apr
2.2
Revisions
Each edited item includes two rounds of changes, sent as one consolidated list with timecodes. A change of direction after the first cut is approved, such as a different music track or a re cut structure, is charged at $140 an hour and estimated first.
3. Raw footage and archive
3.1
Who gets the raw footage and the project files
Raw footage is not part of the delivery. The Videographer keeps it for 12 months from the event and then deletes it. If the Client wants the raw files, they are supplied on a drive the Client pays for, at $650 for the set, and are supplied as recorded with no grade, no sync and no support. Editing project files, grades and sound sessions stay with the Videographer, because they are working files rather than a deliverable.
4. Music, rights and people on camera
4.1
Music licensing
Music is licensed by the Videographer from a production library, and the licence covers the Client's use of the delivered films on its website, social channels, email and internal events, worldwide and in perpetuity. Licence details are supplied with the final files. Music for a paid advertising campaign needs a broader licence, quoted before it is used.
4.2
Ownership and use
On payment in full, the Client owns the delivered films and may use and edit them without further payment. The Videographer keeps the right to show the work in its portfolio and showreel, and to enter it in an industry award, unless the Client asks in writing that a specific item not be shown. The Client obtains consent from speakers and attendees to be recorded and displays notices at the entrances, and the Videographer will remove an identifiable person from an unreleased edit on request at no charge.
5. Fee and payment
5.1
The fee
The fee is $7,400 plus GST for the shoot days and the deliverables above, including crew, equipment, travel within the metropolitan area, media, editing, grading, sound and music licensing.
Payment
Due
Amount
Deposit, holds the dates
4 Dec 2026
$2,220.00
Balance on final delivery
16 Apr 2027
$5,180.00
Fee before GST
$7,400.00
GST at 10 percent
$740.00
Total including GST
$8,140.00
5.2
Overtime and extra days
A shoot day that runs more than one hour past the wrap time in the table is charged at $180 an hour per crew member. A third shoot day is $2,400. Both are agreed on the day by the Client's named contact, in writing, including by text message.
6. Cancellation, failure and general
6.1
If the event is cancelled
Cancelled more than 60 days before the event, the deposit is refunded less $400 for work already done. Between 60 and 21 days, the deposit is kept. Inside 21 days, 60 percent of the fee is payable, because the dates cannot be refilled. A postponement to a date the Videographer is free carries everything paid across.
6.2
Equipment failure and force majeure
The Videographer carries backup cameras, recorders and media, and records the main stage on two devices at once. If despite that a technical failure loses material, the Videographer's liability is limited to a refund of the part of the fee covering the lost item. Neither party is liable for a failure caused by something outside its control, such as a venue closure or a public emergency. The Videographer holds public liability cover of $20 million and gives a certificate of currency on request. The parties talk first and go to mediation before proceedings, and this contract and the two tables are the whole agreement, replacing the quotation dated 10 November 2026.
For Frame Sixteen
Name
:
Date
:
For Northbound Events
Name
:
Position
:
Date
:

Section by section

What each section is for, so you can keep the ones you need and drop the rest.

Parties and key terms
Videographer and client, then the fee, the shoot days, the deliverable count and final delivery.
1. The shoot
Crew and coverage, the three day call and wrap table totalling 70 crew hours, and what the venue supplies.
2. Deliverables
Nine items by quantity, length, format and date, and the two revision rounds each includes.
3. Raw footage and archive
Who gets the raw files and at what cost, retention, and where the project files stay.
4. Music, rights and people on camera
The library music licence and its limits, ownership on payment, and consent from speakers.
5. Fee and payment
A deposit and balance table to $8,140 including GST, plus overtime and extra day rates.
6. Cancellation, failure and general
The cancellation ladder, backup equipment and liability limits, insurance and disputes.
Signatures
A block for the videographer and one for the client.

How to adapt this agreement

For a wedding, replace the session recordings with ceremony and reception coverage, add a second shooter line, and make the cancellation ladder harsher inside 90 days because a Saturday cannot be refilled. For a brand or product shoot, add a pre production day with a shot list and a location scout, move music to a licence the client chooses and pays for, and add a usage term because advertising rights are where the money is. For ongoing social content, drop the shoot day table entirely and price a monthly volume of assets with a turnaround time, keeping the deliverables table as the monthly spec.

What makes this document work

Nine deliverables, each with a length and a date

A 30 second vertical teaser the morning after day one, a three minute highlights film by 2 April, four full length sessions, two square cut downs and a sponsor thank you. Cut to the format rather than cropped from one master, which is stated in clause 2.1.

The raw footage question is answered before it is asked

Clause 3.1 says raw footage is not part of the delivery, is kept for 12 months and then deleted, and is available on a client paid drive for $650 as recorded with no grade and no support. Project files stay with the videographer.

The music licence names what it covers

Library music licensed for the client's website, social, email and internal events, worldwide and in perpetuity, with the licence details supplied alongside the final files. A paid advertising campaign needs a broader licence, quoted before it is used.

Questions people ask

What should a videography contract include?

The shoot dates and crew hours, what the client must provide on site, every deliverable with its length, format and date, revision rounds, what happens to the raw footage, music licensing, who owns the finished films, the fee and a cancellation ladder.

Do clients get the raw footage?

Only if the contract says so. Here it is not part of the delivery: it is kept for 12 months then deleted, and supplied on a drive the client pays for at $650, as recorded with no grade, no sync and no support attached to it.

How is music licensed for a corporate video?

From a production library, licensed by the videographer, with the details handed over with the final files. This licence covers website, social, email and internal use worldwide in perpetuity, and a paid advertising campaign needs a broader one, quoted first.

Who owns event video footage?

The client owns the delivered films on payment in full and may use and edit them without further payment. The videographer keeps the right to show the work in its portfolio, showreel and award entries unless the client asks in writing that a specific item be withheld.

What happens if a camera fails on the day?

The contract plans for it. Backup cameras, recorders and media are carried and the main stage is recorded on two devices at once. If material is still lost, liability is limited to refunding the part of the fee covering the lost item rather than the whole job.

When is a video booking non refundable?

Cancelled more than 60 days out, the deposit is refunded less $400. Between 60 and 21 days the deposit is kept, and inside 21 days 60 percent of the fee is payable, because the shoot dates can no longer be refilled at that notice.

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Sources

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