How to set your UGC rates in reais: per video, in packages, usage rights, and the factors that make the price vary.
Why UGC prices in Brazil are particular
Five characteristics of the local market.
The pool of creators is very wide, which pulls entry prices down.
Regional gaps in the cost of living are considerable, so one rate does not mean the same thing everywhere.
Foreign clients pay in another currency, which creates two parallel markets.
Marketplaces and online sellers buy in volume, with tight but regular budgets.
And formalisation, where it exists, has a cost that has to appear in the price.
Typical rates per video in Brazil
Six markers, to be adjusted by region and niche.
A simple short video, with no advertising rights: the market's first level.
The same with advertising rights limited in time: significantly more expensive.
An unboxing or a quick demonstration: close to the first level, because production is short.
A video with preparation, recipe, editing or a specific location: above, because of the time.
A video in a regulated category, health or finance: higher still, because of compliance.
And an urgent order: a surcharge, never a deadline promised then missed.
The logic of packages
Five reasons to sell in batches rather than by the unit.
Preparation is paid for once and spread over several videos.
The client gets a lower unit price, which eases their internal decision.
You get a higher total amount, which improves your cash flow.
The batch creates a relationship, and the second order arrives without prospecting.
And it lets you test different formats in the same session, which makes the report more useful.
Usage rights change everything
Six points that must appear on the quote.
The type of use: publication on the brand's accounts, or paid advertising distribution.
The platforms named one by one.
The duration, with a start date and an end date.
The territory: Brazil alone, Latin America, or worldwide.
Exclusivity, or its explicit absence.
And the price of the rights, on a line separate from production.
One direct consequence: without those six lines, a rate means nothing, and two quotes are not comparable.
What pushes the rate up or down
Six factors, in order of real effect.
Advertising use, by far the first.
The duration and territory of the rights.
The turnaround requested.
The number of variants delivered.
The complexity of the shoot: location, preparation, participants.
And your demonstrated regularity, the only factor that grows with time.
What structures a rate card here
| Line | What moves it | Amplitude |
|---|---|---|
| The plain video | The number of shots | Low |
| Advertising rights | Term and territory | High |
| Variants | The number of edits | Medium |
| Language | A second version | Medium |
What separates two equivalent profiles
The share of clients outside the country. A creator who also invoices for export smooths the seasonal dips and never has to cut prices when the local market slows.
What is not negotiable
The rights. They are priced separately, written into the quote, and cost more to buy back later. The rest of the card can flex, that line cannot.
Setting your price methodically
Six steps, to be done once then revised twice a year.
Calculate what you want to earn per month, net.
Add the contributions, tax and charges of your status, whose arrangements are checked with the competent administration and with an accountant.
Divide by the number of videos genuinely producible in a month, counting prospecting and administration.
Compare the result with the market, and adjust production or positioning, never the price alone.
Display two or three offers with their price, so the client decides without having to write.
And revise after ten orders, because that is when you know your real speed.
One last marker: in Brazil the trap is not charging too much, it is charging a price that does not say what it contains. A clear rate, with a rights line, a turnaround and a validity date, negotiates better than a low price with no explanation, and it immediately places you in another category of supplier.
