Open a video production rate card and it can look a bit like a shopping list. Camera operator. Editing. Animation. Pick a few lines, add them up and you’ve got a film. Almost.

Those lines need a bit of context. A filming rate might cover the operator on their own or a specified camera package. Preparation can range from checking the kit to developing the whole creative approach. And a half-day booking still needs a workable schedule.

Here’s how to read Ace Media’s rate card, understand the work behind the numbers and use it to start a useful conversation about your project.

The numbers are a starting point. A clear quote explains the work, equipment and deliverables they cover.

A rate card gets the conversation moving

Our rate card and pricing guide gives you a starting point for budgeting. It helps you see the types of work involved and the indicative rates, before we’ve worked through every detail of your brief.

The quote applies those rates to the actual job. How much filming is needed? Which people and equipment does it require? How much work is there before the shoot, and what needs to happen in the edit?

That is why two projects with similar finished lengths can have quite different totals. One might need a camera operator and a straightforward edit. Another may need several crew members, location arrangements and a graphic sequence built from scratch. The number becomes useful when you can see the scope behind it.

What goes into a filming day

A filming day rate covers booked time and the expertise needed to use it well. Choosing a suitable setup, working with the people on camera and getting usable coverage all matter. The equipment included should be specified in the quote, along with any additional kit or crew the job needs.

For a straightforward Ace Media booking, routine preparation is usually included. That can mean reviewing the brief, confirming practical arrangements, checking and preparing equipment, and working through the logistics needed to arrive ready to film.

More substantial creative development needs its own allocation. Writing a script, developing concepts, creating storyboards or planning a complicated location shoot can take considerable time. We scope that work separately and make clear what preparation the project includes.

If the project needs a dedicated pre-production day, we quote for it explicitly. Routine preparation for a straightforward filming booking does not mean an automatic extra day of pre-production.

The edit needs room in the quote

After the shoot, someone has to watch the material. There may be several interviews to work through, useful answers to find and a story to assemble. The finished film only shows the choices that survived. It mercifully leaves out the half-finished sentences and the moment a delivery van joined the conversation.

The edit also needs sound work, colour correction and any agreed graphics. Music has to suit the film and be licensed for its use. Captions need checking. Different versions need adapting and exporting, followed by a check that the files are ready for their intended platforms.

A concise film can take a substantial amount of that work. Sixty seconds assembled from a clear script is a different edit from sixty seconds found within several hours of interviews. Complex animation adds another set of tasks. Agree the production and post-production work around the material and the deliverables, rather than judging it by the running time alone.

A half day needs a workable schedule

A shorter booking can suit a contained job. Perhaps there’s one location, a simple setup and someone available when you need them. Check the time required for setup and packing away as well as the recording itself.

Travel, equipment preparation and the time reserved in the diary still have to be considered. A half-day booking therefore needs its own scope and price; it shouldn’t be assumed to cost exactly half a full day. Moving between locations or adding interviews may change which booking makes sense.

Planning, filming and additional crew are set out separately in our October 2026 rate card. Visit the pricing page for the latest version.

Compare what you’ll receive

When you have a few quotes in front of you, look past the final line for a moment. Check that each one is covering the same job:

• Deliverables: the number of films, their lengths, formats and any shorter or captioned versions.

• Feedback: the included revision rounds, who approves the work and how changes to the brief are handled.

• Files: which finished exports you receive, and whether rushes or editable project files are included.

• Practical costs: travel, accommodation, locations and any additional equipment or crew.

• Usage and tax: the agreed music or stock licences, and whether the quoted total includes VAT where applicable.

These details can explain a difference in price. Ask while the plan is being agreed. It’s much easier to discuss an extra version before it becomes an urgent request on delivery day.

Give the quote something useful to work with

Tell us what the film needs to achieve, who will watch it and where it will appear. Include the deadline, likely filming arrangements and the versions you need. A budget, even an approximate one, helps us suggest a plan that fits.

There will sometimes be choices to make. One carefully planned location might cover the story. A particular scene might deserve more crew or preparation. A clear scope lets us discuss those decisions before they become surprises.

For a broader look at setting a film budget, our guide to videographer fees walks through the production choices that affect the total.

Send Ace Media your brief, budget and deadline. We’ll work through what the film needs and put a clear quote against it.