A clear offer sells better than a low rate. Here an extra constraint applies that other markets do not know: the price must survive the time passing between sending and acceptance.
Three levels, not five
It is the structure that gets decided fastest, and the decision is the only goal.
An entry level, to work together a first time: one video, one format, limited use.
A central level, the one you want to sell: several videos from a single shoot, two formats, several hooks, advertising rights defined in time.
A top level: a complete day, a wide batch, extended rights, a shorter deadline.
Beyond three, the buyer no longer compares, they postpone. And a postponed offer is never taken up again.
Date the validity of your price
That is the local particularity, and it protects both parties.
A quote sent today and accepted six weeks later no longer means the same thing if your costs have moved in between.
So write, under each amount, a deadline for acceptance. Fifteen days is a reasonable duration and is never contested.
Add the invoicing currency and the receiving currency when they differ, along with who bears the transfer fees. Those two lines avoid every end-of-job discussion.
What to write in every offer
Six elements, always the same.
The number of videos, their length and their formats.
The languages delivered, and whether it is a separately recorded version or a subtitling.
The number of revisions included and the price of the next one.
The rights: duration, media, territory. An offer that does not mention them suggests they are unlimited.
The delivery time, counted from receipt of the product and not from the order.
And the payment terms, advance included.
What not to do
Four mistakes that cap rates.
Selling videos rather than a result: a list of deliverables is compared on price alone.
Including advertising rights in the entry level: you lose the one option that raises the basket.
Accepting exclusivity without charging for it.
And offering an hourly rate. Nobody buys hours in this line of work; they buy usable files.
The format of the offer
One page, sent as a file readable on a phone.
Three columns or three blocks, one price per block, one line of options underneath.
No personal introduction at the top: the buyer has already seen your work, they are trying to decide.
And a link to two examples only, chosen in the client's category.
What goes on each line of an offer
| Line | What it fixes | If it is missing |
|---|---|---|
| Number of videos | The workload | A free addition |
| Formats delivered | The expected exports | A re-export |
| Revisions included | The end of the project | An endless back and forth |
| Licence duration | The real value | An unlimited release |
What sells better than a single video
A monthly commitment. The client gets a rhythm, the creator gets visibility on the month, and the negotiation does not restart with every order.
What to test before freezing a grid
Offer the same three packages to ten brands. The one chosen eight times out of ten becomes the main offer, the other two frame it.
Neutral Spanish, and its limit
That is a question coming back with every regional brief.
A neutral version serves when the video must travel across several countries and no local accent should dominate. It is invoiced as a distinct service, because it demands vocabulary work.
But it does not replace a local version when the campaign targets a single country: the audience immediately hears a voice from nowhere.
So offer both among your options, with two different prices, and let the client choose knowingly.
