INTRODUCTION

You want your event filmed so you can sell it online as a course and use clips for social media to promote the next one.

You're spending a lot of time, effort and money on this event.

It's critical that every moment is captured with clarity and detail.

Because we have filmed a whole host of events like this before, we know exactly what to expect. This proposal will detail the different ways we plan on making sure not only the day goes perfectly well, but the finished product is of the highest quality.

Keep reading to find out more...

THE SHOOT

Different SHOTS

What makes a video look interesting is a variety of shots.
You need to have the right shot, for the right moment.
We'll use a range of equipment to capture these moments.

We have a crane at our disposal for long sweeping shots and a steady-cam for creating smooth movements.

We'll be using both of these at your event.

The day

We'll be able to capture everything we need on the day. 

Ideally, we'd like to be able to stay in the hotel the night before so we can spend time getting everything set up either in the evening or super early in the morning. 

None of us like stress. "Did you bring this cable?", "Did you bring spare batteries?". It's unnecessary and doubts like that cause you
not to do your best work. 

Over the years we've developed a checklist of things to bring to an event like this beyond the obvious and it's bailed us out. We're proud to say, we haven't had a filming issue in 8 years. A record we're proud of.

In short, we bring spare everything!

THE EDIT

Editing

Our job is to ensure everything we've shot looks as high quality as possible. The edit will allow us to arrange the moments we've captured to take the viewer on the most engaging journey possible.

Making it easy to watch

You'll have your uncut versions with slides overlayed which will make up the online course. We'll be alternating between 3 camera angles:

• Hard camera (the one used 80% of the time)
• Crane 
• Closeup glidecam shot

The difference in the 3 shots will make for really interesting viewing. Throw in the slides too and you're looking at a really engaging video. 

Different versions of the video

We'll also make short 1-2 min videos suitable for sharing on social media. These will be edited to be a little more fast paced, so it's possible we'll be changing the camera angles more regularly in these clips. People's attention span on social media is awful. This helps.

We'll also subtitle the videos. More people are watching video on mute these days so we need to cater for that.

CASE STUDY

Problem

Janet Smith Marketing had an event with 120 attendees but wanted to capture the event on film so they could re-use the footage to:

1. Promote the next event
2. Give the speakers copies of their speeches
3. Use the footage as social media content

Proposed Solution

Knowing the end result was key, so we set out to get to the venue before hand to scope it out, speak to the staff there and work out where we could shoot and what limitations might exist. 

With that sorted, we proposed a 3 camera shoot giving us no single point of failure.

Result

The evening went off without a hitch.

We created 20 different videos they could use on social media, various promos for the advance tickets for the next event and kept the speakers happy with full-length, fully edited versions of their talks they could use in their own marketing.

"ABC Video was fantastic.
Professional, classy and most of all, invisible. They managed to capture the entire event in silence.

The quality of the video is outstanding"

Janet Smith | Event Organiser 

YOUR INVESTMENT

Strategy

Our pricing follows the industry standard of day-rates as a basis but we issue you a fixed quote. Our day-rate is £400 per day.

Payment plan

50% is required to book your slot.

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

"The quality of the video is outstanding and the highlight video has been shared more times than any piece of content ever before"

- John Smith | Event Organiser

YOUR GUARANTEE

You want peace of mind. Here it is.

When you go to the trouble to set up an event 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's how we make sure there aren't any issues:

• We always bring 2 lots of everything. 2 cameras, 2 lots of cards, spare lenses, cables, mics, everything.
• We're 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 2 different memory cards. If one fails, there's a backup with no loss of quality.
• All footage after it's shot is backed up 3x in automatic processes. 
• Once your video is completed it's backed up onto 2 hard drives and archived in separate locations.

LET'S GET STARTED

If you would like to join us and let us produce your video then we'd be delighted to have you. 

Next steps

1. Sign below by typing your name and hitting 'Sign Proposal'

2. We'll arrange the pre-production meeting where we'll gather everything we need.

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

We're 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 [Contracting Client] ("Client"), and [Producer Production Company] ("Producer").

Producer hereby agrees to produce and deliver to Client the production of the below-referenced media(s) (“Specified Media(s)”), subject to and in accordance with 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. Producer is not responsible for Editorial/Post Production subcontract. 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) pursuant to 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. 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 from 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 in accordance with the terms of this Agreement for 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, sub-licensable, transferable, royalty-free license to all media clips produced during the course of the contracted work.

4. SECURITY/CONFIDENTIALITY
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 Producer’s status under this Agreement is that of an independent contractor and that all persons engaged by 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) with respect to 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 delivery of the referenced media(s) in paragraph 1 by Producer to Client.

9. PAYMENT
Client understands that the specified terms of payment under this Agreement are based upon timely cash payments within 30 days. If Client chooses to defer paying any amount beyond the date on which it is due, 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 Producer.

10. INDEMNIFICATION
Producer agrees to indemnify, defend, and hold harmless Client and its officers, employees, agents and licensees from and against any and all 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 and all 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 right infringement(s) that arise from any and all uses of the media. Producer will be notified in writing prior to signing this Agreement. Client will obtain and maintain insurance coverage with respect to Agency/Client job(s) at no cost to Producer and name Producer and Director as a “named insured” on said policies prior to 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. 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 and all deductibles associated with Client insurance program. Client will indemnify, defend and hold harmless Producer and Director for any and all claims, demands, actions including defence 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, colour correct products).

(3) “Force majeure” (meaning but not limited to, earthquake, riot, fire, flood, volcanic eruption, acts of war, strikes, labour 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 prior to 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 specified date caused or directed by Client or a 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 cancelled 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 notice of cancellation/postponement is given to the Producer ONE TO TEN WORKING DAYS prior to 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 notice of cancellation/postponement is given ELEVEN TO FIFTEEN WORKING DAYS prior to 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 notice of cancellation/postponement is given MORE THAN FIFTEEN WORKING DAYS prior to 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 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 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 labour attached to the project. This expense will include full payment through the original completion date if that labour is not re-booked by the company, or, in the case of the free-lance labour, 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 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 labour attached to the project. This expense will include full payment through the original completion date if that labour is not re-booked by the company, or, in the case of the free-lance labour, 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 of 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, Producer agrees not to discriminate against any employee or applicant because of race, religion, sexual orientation, colour, 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.