Here is what sets the price of a video, the ranges observed in the market, and realistic income depending on your pace of work.
What sets the price of a video
Seven elements, all negotiable separately.
The shooting and editing time.
The number of versions delivered.
The duration of the licence.
The authorised distribution media.
Paid advertising, always separate.
Category exclusivity, if requested.
And the raw files, granted or not.
The ranges observed
Six market markers, to adjust for country and category.
A first video, for a profile with no portfolio, often sits at the low end of the range, around eighty to one hundred and fifty euros.
An established profile, with evidence and consistency, sits higher, often between two hundred and four hundred euros.
Advertising rights add a significant share, calculated as a percentage of the base price.
Technical or regulated categories pay above average.
Batches of three videos lower the unit price.
And category exclusivity is the dearest line of all.
Single videos or packages
Six reasons to prefer packages as soon as possible.
The unit price drops, but the total rises.
Production gets grouped, so time per video falls.
The client comes back without renegotiating each time.
The calendar becomes predictable.
The brief is reused from one video to the next.
And the relationship becomes a collaboration, not a transaction.
What pushes your rates up, and what pulls them down
Seven levers, from the fastest to the slowest.
Evidence, meaning videos the brand actually ran.
A category few creators agree to work in.
An ability to deliver fast, reliably.
Wider rights, invoiced separately.
An agreed exclusivity, with an end date.
A second shooting language.
And a consistency that makes you the default choice.
What pushes your rates down
Six situations to avoid or correct.
A portfolio too thin, with no close example.
A deadline never met.
Average sound, whatever else you do.
A rate card with no detail, inviting raw comparison.
An announced but unreal availability.
And systematically accepting the first offer.
How much you can earn a month
Six scenarios, from the most cautious to the most sustained.
Two videos a month, as a side activity.
Four videos a month, alongside a job.
Eight videos a month, as a starting main activity.
Twelve to fifteen videos, as an established main activity.
The same volume, plus advertising rights invoiced.
And the same volume, plus licence renewals.
Why volume alone is not enough
Because available time caps out: at fifteen videos a month you reach the physical limit of editing and messages. Beyond that, income no longer rises through volume, it rises through unit price, through rights, and through renewals. That is exactly why the way of counting, explained above, decides the ceiling.
What platforms and agencies take
Six markers for an honest comparison.
An agency takes a margin, often invisible on the creator side.
A marketplace takes a commission, published.
A generalist freelance site takes a variable share.
Direct takes nothing, but costs prospecting time.
The real cost is measured net, after commission and time spent.
And the useful question is not the percentage, it is the flow of orders.
What UGC MATCH retains
On UGC MATCH, joining is free and there is no subscription: the platform retains 10% of the price on the creator side, who therefore keeps 90%, and charges the brand a 6% service fee, with a minimum of 1.50 EUR. The brand pays at ordering, the funds are not released straight away, and payment goes out on approval.
How to keep the list of expiry dates
Six columns are enough, on a single sheet.
The brand name and the delivery date.
The media granted, in three words.
The exact licence end date.
The initial amount, rights included.
The status: live, expired, renewed.
And the date of your next follow-up.
What to invoice on top, every time
Six lines too often forgotten in the first quote.
Any platform added after the order.
Any duration beyond the one agreed.
Any revision outside the original brief.
Any extra format not planned for.
Any reuse by a reseller.
And any request arriving after delivery.
How to raise your rates over time
Six steps, without breaking the relationship.
Announce the rise before the next order.
Justify it by scope, never by your own costs.
Keep the old price for what is already scheduled.
Offer a transition rate over one quarter.
Invoice the rights separately, even at a constant price.
And accept that some clients leave.
What to note after every job
Five lines, written on delivery day.
The time actually spent, in hours.
The number of round trips.
What wasted time.
The price you should have asked for.
And the licence end date.
What to expect when starting out
Six realities, said plainly.
The first jobs pay low, that is normal.
The portfolio counts for more than the rate at the start.
The first recurring client changes everything.
Rights are often forgotten in the first quote.
Income becomes readable after several months, not several weeks.
And consistency beats the one-off breakthrough.
What decides income, in order
| Factor | Its weight | Why |
|---|---|---|
| The share of rights sold | The strongest | The same video is worth triple in advertising |
| Regular clients | Strong | They remove the empty months |
| Foreign clients | Strong | Two markets, two price levels |
| Production speed | Moderate | It caps out fast |
What misleads in a comparison
The advertised price per video. A low rate with broad rights earns less than a mid rate with short rights and a buy-back after three months.
What genuinely moves the needle
Selling something other than shooting: the edit, the variants, the multilingual versions and the rights. Same working day, invoiced three times better.
The mistakes that cost the most
Six reflexes to drop early.
Not writing down what is being sold.
Granting advertising rights with no supplement.
Delivering before having written agreement.
Redoing a version for free out of fear of losing the client.
Not keeping the list of licence end dates.
And comparing yourself with published rates whose scope you do not know.
One last marker: income does not come from the video you deliver this month, it comes from the ones you delivered a year ago whose licence is about to expire.
Sources
- Portal do Empreendedor (MEI), Brazilian government
- Receita Federal, Brazilian tax authority
- Simples Nacional, official portal
- Urssaf, official auto-entrepreneur portal
- Service Public, how to become a micro-entrepreneur
- Service Public, crossing the micro-entrepreneur turnover thresholds
Checked on 4 September 2026. Thresholds and rates change: where this guide and the official source disagree, the official source is right.
