Questions We Get Before the First Call

Every deliverable carries a date, agreed with you and written into the quote before the shoot. Raw footage lands ahead of anything finished, so your team can start while we are still cutting. Faster delivery exists as a priced tier, booked before production starts rather than requested afterward.

We would rather give you a date we hold than a number that sounds good in a pitch. You get it in writing before the shoot, and you hear from us early if anything threatens it.

It starts when the event finishes. On a multi-day event or a conference, the clock starts at the end of the final day.

The one thing that pauses it is us waiting on you. If a deliverable needs your notes, brand guidance, music direction, or an approval before it can move, the clock stops until that lands and starts again when it does. We will tell you when we are waiting rather than letting a date quietly slip.

Raw footage, organized and labeled. A hero film cut for your site. Session and interview cuts. Vertical cuts to platform spec. Graded stills. Captions and an SRT file with every video deliverable.

The exact set is named in your quote before the shoot. That is the part that matters, because naming the pieces first is what lets us build the day around producing them.

Two on every video deliverable. Photo revisions cover technical corrections and replacement selections inside the agreed gallery count. Additional rounds, major creative changes after approval, or new deliverables are billed hourly and quoted first.

Consolidate notes into one round per version. It is the single biggest thing that keeps a delivery on schedule.

Sixty days after final delivery. Longer retention is available as a separate archive agreement. Download and back up your raw files inside that window.

No. Standard crew is two: a lead shooter and producer running visual direction, priority shots, and interviews, and a second shooter covering additional angles, behind the scenes, and media handling.

Two people is what lets photography, B-roll, live coverage, and interviews happen at the same time instead of in sequence. Dedicated audio, an AC, or additional operators are bookable as line items.

Yes. We are based in Nashville and work nationwide. Both of our last two projects were out of state, in Fort Worth and Dewey Beach.

Travel is quoted as a flat production package covering flights, hotel nights, local transportation, meals, and incidentals. It is priced into the quote rather than added to it afterward, so the number you approve is the number you pay.

Drone, specialty rigging, jib, and camera operators beyond the quoted crew. Venue-required specialty equipment. Premium or custom music licensing. Long-term archive storage.

Venue and production credentials are coordinated on your side, since you hold the relationship with the room. Anything on this list can be added as a line item before production.

Three milestones. Fifty percent on approval, which is what reserves the date, the crew, and the travel. Twenty-five percent once capture is complete. The final twenty-five before edited deliverables and raw files are released.

Dates, crew, and travel are held the moment the deposit lands, which means real money goes out before the shoot. If a project is rescheduled, cancelled, or materially changed after approval, any travel, crew, rental, or production cost already committed and non-refundable stays billable. Everything not yet committed moves with you.

You do. Raw photo and video files are yours, delivered organized after final payment.

We retain the right to use the finished, approved work in our portfolio, on this site, and on social. If a project needs that restricted, tell us before the shoot and it goes in the quote in writing.

Standard licensed library music is included. Premium licensing, a specific commercial track, or custom composition is not, and any of those need approval in writing before we cut.

Worth knowing early: performance audio captured at a show carries no sync rights to the artist’s music. If your deliverable needs the live track, that is a licensing conversation before the shoot, not an editing decision afterward.