INTRODUCTION

Dear {{first_name}},

Thank you for choosing Your company name for your corporate video.

As we discussed, the goal is to produce a case study video that demonstrates the value {{company_name}} adds to the logistics industry.

{{company_name}} is looking for a video that presents the work they have done in the logistics industry in a positive light.

It will be around three minutes long and serve as a case study for our web and marketing team going forward.

We will start with a series of short phone interviews to gather our ideas and then a storyboarding session to present them.

We will then book a date to shoot and let the magic happen.

KEEP READING TO FIND OUT HOW.

THE SHOOT

DIFFERENT SHOTS

What makes a video look interesting is a variety of shots and frames. 
It is crucial to take the right shot, at the right moment.

To make them look appealing and professional, we will use a range of various equipment, and by the end of a video, we will make sure to capture all those magical moments.

At our disposal, we will have a crane for long sweeping shots and a steady-cam for creating smooth movements.

THE DAY

Our goal is to capture everything we need in one day. 

On the shooting day, we will need to pinpoint things needed prior to the recording.
For instance, if we have three subjects talking and they are all wearing similar things, it will make the video will look dull.

To ensure this doesn't happen, we have a checklist and will work to prompt you where needed, so that the day runs smoothly.
We can discuss the specifics of this at the pre-production meeting.

Because of the nature of the video, we will be bringing three team members:

• Director
• Cameraman 1
• Cameraman 2

All three are highly skilled individuals, but having a designated Director on board means there is a primary focus on getting the end product as close to, if not better than the storyboard idea.

THE EDIT

EDITING

Our job is to ensure that all the shots we took look as high quality as possible. The edit will allow us to arrange the moments we have captured to take the viewer on the most engaging journey possible.

We will shoot a considerable amount more than we need so we have multiple options available to us during the edit. 

A rule of thumb is, we always assume the worst. This way, we are covered if something doesn't work out.

DIFFERENT VERSIONS OF THE VIDEO

The purpose of your video is to get as many people watching it as possible. 

You mentioned that you will be using this video on your social channels so we will create slightly different versions to go along with the different rules of that particular platform.

YOUTUBE

People consume YouTube like they consume TV. How you would produce it for TV is how you should produce it for YouTube.

FACEBOOK

When we export your video for Facebook, we will use a slightly different beginning because of the way Facebook shows video in the news feed. In addition, your Facebook version will need to be subtitled because people tend to watch videos on Facebook in silence.

THE MARKETING

CALL TO ACTION

Everything that goes online for marketing purposes needs a call-to-action. Call-to-action buttons are strategically placed with simple instructions to the reader or viewer telling them what to do next if they are interested.

Your videos will be no different.

A relevant call to action will be displayed at the end of each version of your video, as s classy suggestion to download a whitepaper or ebook to learn more. 

YOUTUBE

On YouTube, we will use their advertising program to push your video in front of people meeting certain marketing criteria.

We will ensure that all "video SEO" is done on your project, making sure it is tagged correctly to maximize the number of visitors from potential customers.

FACEBOOK

We will be using Facebook Ads to push your video and a link to your website to people who meet certain criteria.

Those interests could be people who like Logistics Monthly magazine and are in your target area. This would suggest they have at least a vague interest in the work you have done.

CASE STUDY

PROBLEM

ABC Country Club recently remodeled almost their entire club which resulted in all their previous marketing materials becoming irrelevant.

PROPOSED SOLUTION

We suggested making one main video for their website and mini videos for social media, to highlight new features of the Club.

We met with the owners for a pre-production meeting and suggested various shots which they brilliantly made happen.

RESULTS

Comments coming back from members of the club about the new video were extremely positive, but what was surprising was how much the video got shared on social media.

The owner contacted a few members to find out how come it got shared that much.

They said that they always recommend the club to their friends and acquaintances, but it was hard to describe it without having a video you can show and say "here, look at this". Now with the existing video, it was made possible.

Here is what one of the owners had to say:

"The video was absolutely amazing. We are all amazed by the results. It really puts the best foot of the club forward.

In addition, referrals for the club membership absolutely shot up which was completely unexpected. We are delighted."

- Janet Smith | Co-Owner -

YOUR INVESTMENT

STRATEGY

Our pricing follows the industry standard of day-rates as a basis but we issue you a fixed quote.

Note: Our day-rate is £800 per day. 

PAYMENT PLAN

50% is required to book your slot.

The remaining 50% is required after signing off the video.

"THE QUALITY OF (Company)'s VIDEO IS OUTSTANDING AND HAS BEEN SHARED MORE TIMES THAN ANY PIECE OF CONTENT EVER BEFORE"

- Ian Holmes | Example Company -

OUR GUARANTEE

YOU WANT PEACE OF MIND. WE ARE HERE TO PROVIDE IT.

When you go through the trouble of setting up your venue to be filmed, arranging whatever it is that needs arranging, you want the confidence that even if something was to go wrong, you won't have to re-do it all.

HERE IS HOW WE MAKE SURE THERE ARE NO ISSUES:

• We always bring two lots of everything. two cameras, two lots of cards, spare lenses, cables, mics, everything.
• We are part of an 'inner circle' of videographers in which we help each other out in case someone is sick or has an emergency, or some equipment fails.  
• We use cameras that let us capture footage onto two different memory cards. If one fails, there is a backup with no loss of quality.
• All footage after it is shot is backed up 3x in automatic processes. 
• Once your video is completed it is backed up onto two hard drives and archived in separate locations.

LET'S GET STARTED

If you would like to join us and let us produce your video, follow the simple steps below.

We would be delighted to have you.

NEXT STEPS

1. Sign below by typing your name and clicking on 'Accept'.

2. We will arrange the pre-production meeting where we will gather all the needed information.

3. We will be in touch with your invoice details for your 50% deposit.

WE ARE READY TO GO, ARE YOU?

TERMS & CONDITIONS

USER DISCLAIMER (Please Delete): This agreement may not be suitable for your circumstances and we recommend you seek legal advice before using it. Better Proposals does not take any responsibility for any events that arise as a result of your use of this agreement.

This Agreement is made as of this date, [Date], between {{company_name}}  ("Client"), and Your company name ("Producer").

Producer hereby agrees to produce and deliver to Client the production of the below-referenced media(s) (“Specified Media(s)”), subject to and per all terms, conditions, and specifications set forth herein. 

QUALITY
It is the essence of this Agreement that all completed media and services supplied by Producer shall be of applicable production standards. Producer agrees that the media shall be of quality, artistically produced with direction, photography, sound, art, animation, synchronization, and other physical and aesthetic content as agreed upon in the bid estimate.

1. FURNISHING MATERIALS, SERVICES, & RELEASES
1.1. Client: Client shall supply scripts, storyboards, product props, production notes, music, celebrity talent, creative guidance/supervision, and related clearances unless otherwise noted. The producer is not responsible for the Editorial/Post Production subcontract. The client will supply track or musical composition(s) and rights clearances unless otherwise specified.

1.2. Producer: Producer shall deliver the completed project media(s) under this Agreement and the requirements. Producer shall deliver to Client consents, waivers or releases from all talent and all persons or entities who have rendered services to Producer in connection with the Specified Media(s) to the extent permissible by applicable union or guild agreements. The producer shall supply everything else required for the delivery of the Specified Media(s) unless exceptions are so noted.

2. CHANGES IN SPECIFICATIONS
If at any time, Client desires to make any changes or variations from the script(s) or storyboard(s) in the Specified Media(s) or any material or work in progress, and such changes result in additional costs to Producer, Producer agrees to notify the Client of the amount before any such additional costs are incurred and Producer shall proceed only after receiving approval (written or oral) from Authorized Representative, approval by Client shall be binding and incorporated into the terms of this Agreement. Reimbursement for such additional costs shall be payable per the terms of this Agreement for the final payment.

3. OWNERSHIP
Except as otherwise provided herein, Client owns all rights, title, and interest in and to the media(s) which are the subject of this Agreement, including all copyrights therein as well as in and to all the exposed negatives, positives, out-takes, and clips. Client grants Producer an exclusive, worldwide, sublicensable, transferable, royalty-free license to all media clips produced during the course of the contracted work.

4. SECURITY/CONFIDENTIALITY
The producer understands that some information for said media(s) may be of a confidential and/or sensitive nature. Producer agrees, at Client’s written request, to require, within reason, those engaged for the production to sign appropriate agreements not to discuss or disclose information about the product or the Specified Media(s) except as such disclosure may be necessary for Producer to produce media(s) in the usual and customary manner under this Agreement.

5. INDEPENDENT CONTRACTOR
It is understood that the Producer’s status under this Agreement is that of an independent contractor and that all persons engaged by the Producer in performing its obligations shall not be deemed employees of Client.

6. PRODUCER WARRANTIES
Producer represents and warrants:

6.1. That Producer has full right to enter into this Agreement and to perform its obligations hereunder and will comply with all applicable laws, ordinances, and regulations and with all applicable union agreements to which Producer is a signatory.

6.2. That Producer will use reasonable efforts to obtain all licenses, consents, and rights necessary and incident to the performance, reproduction, and exhibition of the Specified Media(s) concerning materials, elements, and services provided by Producer.

7. CLIENT WARRANTIES
Contracting Client represents and warrants:

7.1. Client shall pay Producer within 30 days of deliverables noted in Paragraph 1 of this Agreement. All talent contracting forms and the filing thereof with various union offices, in connection with such talent, is the direct responsibility of the Client.

8. DELIVERY OF MATERIALS
Delivery of the Specified Media(s) shall mean a delivery of the referenced media(s) in paragraph 1 by Producer to Client.

9. PAYMENT
The client understands that the specified terms of payment under this Agreement are based upon timely cash payments within 30 days. If the Client chooses to defer paying any amount beyond the date on which it is due, the Client may be charged at the Producer’s discretion, as additional consideration, an amount equal to the current prime rate [+X%] on unpaid amounts until paid, compounded monthly. Ownership of the media does not transfer until full payment is made to the Producer.

10. INDEMNIFICATION
Producer agrees to indemnify, defend, and hold harmless Client and its officers, employees, agents, and licensees from and against any claims, actions, damages, liabilities, and expenses, arising out of the breach of any obligation, warranty, or representation of Producer in this Agreement.

Contracting Client agrees to indemnify, defend, and hold harmless Producer and its officers, employees, agents, and licensees from and against any claims, actions, damages, liabilities, and expenses, arising out of the breach of any obligation, warranty, or representation of Contracting Client in this Agreement.

11. TAX LIABILITY
Any sales tax, use tax, or other tax payable on production and delivery of Specified Media(s) to Client(s) (other than sales tax arising from Producer’s purchases of materials or supplies in connection with the production) shall be the responsibility of Client who shall pay, defend and hold harmless Producer from payment of any such taxes.

12. ASSIGNMENT
This Agreement may not be assigned by either party without the written consent of the other.

13. INSURANCE COVERAGE
(3) Client shall obtain, pay for, and maintain Professional Liability (Errors and Omissions Liability) insurance covering all intellectual property rights infringement(s) that arise from any uses of the media. The producer will be notified in writing before signing this Agreement. The client will obtain and maintain insurance coverage concerning Agency/Client job(s) at no cost to Producer and name Producer and Director as a “named insured” on said policies before the commencement of preproduction. All Agency/Client-supplied insurance will be deemed to be the primary coverage and issued on a non-contributory basis. Agency/Client Umbrella Liability limit will be $10,000,000. The client will be responsible for any additional insurance premiums resulting from the need to purchase special coverage not provided by the coverage and pay any deductibles associated with the Client insurance program. The client will indemnify, defend and hold harmless Producer and Director for any claims, demands, actions including defense costs and attorneys fees for claims arising from the media(s) and the failure of the Agency/Client insurance program to be as broad as the Producer’s coverage.

14. CONTINGENCY AND WEATHER DAYS
14.1. A contingency day is any day where a scheduled media/film shooting has been prevented from occurring due to circumstances beyond the control of the production company.

14.2. These circumstances may include but should not be limited to: (1) Weather conditions (rain, fog, sleet, hail, or any adverse condition that is not consistent with the prescribed shooting conditions desired by the Client).

(2) Injury, illness, or absence of client-supplied elements (e.g. key talent, color correct products).

(3) “Force majeure” (meaning but not limited to, earthquake, riot, fire, flood, volcanic eruption, acts of war, strikes, labor unrests, civil authority, terrorism, and acts of God).

(4) “Client Insured Re-Shoots” (any additional days for a job insured by the Client, who is therefore authorizing the expenditure). The Client should be provided with a contingency day cost which should be approved before proceeding with that shoot day.

14.3. The Production Company recognizes its obligation to minimize contingency day liabilities and will apply accepted industry cancellation practices.

14.4. The Production Company will quote the maximum exposure figure (a “not to exceed” figure) as a contingency day cost. This will be a cost per day figure. However, this figure does not include the cost of premiums for crew or suppliers (i.e., should the contingency day fall on weekends, holidays, or premium days based on consecutive employment).

15. CANCELLATION AND POSTPONEMENT
A cancellation or postponement is defined as a rescheduling of the production to a later specific date caused or directed by the Client or total cancellation of the project.

If the Production Company blocks out a specific period of time with the agreement that it represents a firm commitment from the Client, then the Production Company makes no further efforts to sell the time. If the job is canceled or postponed within the Guideline time frame, it is unlikely that this time can be rebooked. It should be understood that this time represents the Production Company’s only source of income.

Cancellation and Postponement: Film or Digital Video Production:

A. If a notice of cancellation/postponement is given to the Producer ONE TO TEN WORKING DAYS before the commencement of the shoot, the Client will be liable to the Production Company for:

(1) All out-of-pocket costs; (2) Full director’s fee as bid; and (3) Full production fee on the job as bid.

B. If a notice of cancellation/postponement is given ELEVEN TO FIFTEEN WORKING DAYS before the commencement of the shoot, the Client will be liable to the Production Company for:

(1) All out-of-pocket costs; (2) Not less than 50% of director’s fee as bid; and (3) Not less than 50% of production fee on the job as bid.

C. If a notice of cancellation/postponement is given MORE THAN FIFTEEN WORKING DAYS before the commencement of the shoot, the Client will be liable to the Production Company for:

(1) All out-of-pocket costs; (2) Not less than 25% of the director’s fee as bid; and (3) Not less than 25% of the production fee on the job as bid.

Cancellation and Postponement: CGI or Animation Production:

A. If a notice of cancellation/postponement is given MORE THAN HALFWAY THROUGH the production schedule of the job, that is between the award or start date and the final delivery date, the Client will be liable to the Production Company for the full cost of the job as a bid.

B. If a notice of cancellation/postponement is given IN THE SECOND QUARTER of the production schedule of the job, that is between the award or start date and the final delivery date, the Client will be liable to the Production Company for:

(1) All out of pocket costs, including the expense of all staff and free-lance labor attached to the project. This expense will include full payment through the original completion date if that labor is not re-booked by the company, or, in the case of the free-lance labor, not able to re-book itself on another project.

(2) Full creative fees as bid.

(3) Full production fee on the job as bid.

C. If a notice of cancellation/postponement is given IN THE FIRST QUARTER of the production schedule of the job, that is between the award or start date and the final delivery date, the Client will be liable to the Production Company for:

(1) All out of pocket costs, including the expense of all staff and free-lance labor attached to the project. This expense will include full payment through the original completion date if that labor is not re-booked by the company, or, in the case of the free-lance labor, not able to re-book itself on another project.

(2) Not less than 50% of creative fees as bid.

(3) Not less than 50% of the production fee on the job as bid.

16. PUBLICITY GUIDELINES
Until notified in writing by Client, Production Company and Director each have a revocable license to use finished media(s) for promotional purposes.

17. DISPUTE RESOLUTION
The prevailing party in any legal action shall be entitled to attorney’s fees and costs in connection with the legal proceedings.

18. ENTIRE AGREEMENT AND MODIFICATION
This Agreement and any Addenda attached hereto shall constitute the entire agreement between Producer and Client. Any amendment hereto must be in writing and signed by each party.

19. CAPTIONS
The captions are inserted only as a matter of convenience and for reference and in no way define, limit, or describe the scope or intent of this Agreement or any provision hereof.

20. NO WAIVER
Failure of any party to this Agreement to exercise any rights shall not constitute a waiver of those rights.

21. ENFORCEABILITY
If one or more of the provisions of this Agreement shall be held unenforceable, it shall not affect the enforceability of the other provisions.

22. EQUAL OPPORTUNITY
In connection with its performance hereunder, the Producer agrees not to discriminate against any employee or applicant because of race, religion, sexual orientation, color, sex, national origin, age, disability, or any other factor protected by law.

23. APPLICABLE LAW
This Agreement shall be interpreted and governed by the local laws of the jurisdiction where the Production Company office authorizing this Agreement is located.