Wedding film, price on requestYour services, timed
Wedding film, corporate video and event coverage sit on the menu with how long each takes, priced on request.
Videographer booking, deposits and retainers: The shoot is a day. The edit is a fortnight.
Hold the filming date with a deposit, invoice the first cut and final delivery separately and turn one-off clients into monthly retainers.
No commission on new clients. No per client charges.
One monthly subscription. 2.5% + 35p on standard UK cards, only when you take a card payment.
What videographers see in Youzse
Real screens from Motion Works Films, our demo video production company, with the numbers it shows today.
Wedding film, price on request
Waiting for your replyReviews that name the work
Every review names who it was with and what was booked, this one for corporate video. Reply from the same screen.
Bill the edit, not just the shoot
Hold the filming date with a deposit, take the next payment when the first cut goes over and the balance on delivery. Included revisions sit in the quote, so the third round of changes is a priced conversation rather than an argument.
No per client fees.
One subscription and 2.5% + 35p only when you take a card payment.
Shoot and edit, billed separately
The shoot is a day, the edit is a fortnight and clients often forget the second one exists. Price them apart, take a deposit to hold the shoot date and invoice the edit when the cut is delivered.
Overdue invoices chase themselves.
2.5% plus 35p on standard UK cards, with the platform fee inside it.
One film, then a retainer
The best videography income is not the one-off wedding, it is the business that needs content every month. Keep the brief, the brand assets and the delivery history and turn a single project into a standing arrangement.
Unlimited client records.
Unlimited customer records on every plan, yours to export at any time.
Running a videography business
A videographer is paid for one day of filming and then spends a fortnight in an edit nobody watched happen. The gap between the shoot and the delivery is where the cashflow problem in this trade lives.
Why one number for a film loses money
- Post-production is most of the work and none of the visible effort, so a single figure makes the expensive half feel like it came free
- Revisions are unlimited unless the quote says otherwise. The third round is always about the music
- Payment lands on delivery, six weeks after the camera hire and the second operator were both paid
- A drone pilot, a sound recordist and a colourist all invoice you long before the client settles
- Rushes and project files sit on drives you keep buying. Nobody quotes for storage
Stage the money against the post-production calendar
Take a deposit to hold the filming date, a payment when the first cut goes over and the balance on final delivery. Three points, each tied to something the client can actually watch happen.
Write the revision count into the quote and price any further rounds. A client who knows two rounds are included asks for two rounds.
State the delivery window in working days from the shoot rather than as a vague fortnight. The argument with a video client is almost never about the quality, it is about when.
What a retainer is worth against one-off films
| Arrangement | How it bills | Winning it again |
|---|---|---|
| A wedding film | One payment, one client, one date | Never, they only marry once |
| A one-off brand film | Quoted, pitched and negotiated every time | A full pitch for every project |
| A monthly content retainer | The same amount every month on a standing arrangement | Nothing to win, it simply continues |
The retainer is the only line here where the second month costs nothing at all to sell.
Rights, releases and the drives
Commercial work turns on who may use the footage, for how long and on which platforms. That belongs in a contract stored against the project rather than in an email thread from March.
Model releases matter more in video than in stills, because faces move and speech is recorded. Get them signed on the day and file them with the job.
Keep the brief, the brand assets, the music licence and the delivery history for each client. The second project for a business you already film should start on the morning of the shoot, not with another discovery call.
Built for videographers
Each of these sits in the same account, so a booking, its payment and the client record stay together.
Branded booking and package page
Packages from a highlight film to full coverage, each with its own price and booking.
Enquiry form and inbox
Enquiries arrive with dates, venues and attachments through your form, in one inbox.
Deposits and signed online forms
A deposit holds the date and a signed contract form comes back with the booking.
Balance invoicing and payments
Invoice the balance from the booking with the deposit credited and a card payment link included.
Automated reminders and follow-ups
Reminders ahead of the shoot and quote follow ups that go out on their own.
Client history and delivery notes
Notes on what was delivered and when, kept with the client and the job.
Clear answers before you switch
The details that usually slow down a move: setup, pricing, bookings, records and how Youzse fits into your day.
Yes. Confirm shoots with a deposit and a signed contract so dates are never double booked.
Simple pricing, nothing hidden
Try every feature on your plan free for 30 days, with no card needed.
- new client fees
- 0%
- day free trial
- 30
- card rate, plus 35p
- 2.5%
- client records on every plan
- Unlimited