A media kit is a page showing who you are, your best videos, your packages and how to book you. Here is what to put in it, and what can replace it.
What it is, exactly
A single page, not a dossier. It answers four questions in order: who you are, what you can do, what it costs, how you get booked. Anything that does not serve one of those four questions weighs the document down without making it more convincing.
What goes in, and what stays out
Seven blocks, in this order.
Your name, your city and your shooting languages.
One sentence saying what you produce, not what you enjoy.
Three videos, embedded and viewable without a download.
Your packages, with a starting price.
The licence scope included, in two lines.
Your usual delivery time.
And the booking link, dealt with above.
What not to put in it
Six elements that lose the reader.
A long personal biography.
Screenshots of audience statistics.
A design that slows the loading.
A list of brands named with no evidence.
Videos hosted behind an access request.
And a single rate with no indication of scope.
Keep it short and visual
Six rules of form.
One page, two if the portfolio justifies it.
One heading per block, never a long paragraph.
Vertical thumbnails, like the videos.
A format readable on a phone first.
A link that opens without an account.
And a light file, or better, a page online.
Why real videos count for more than figures
Because the brand is not buying an audience, it is buying execution. It wants to see the light, hear the sound, judge the pace, check the subtitles are clean. Three whole videos teach more than a page of statistics, and they remove the most frequent question: can this person deliver.
How many videos to show
Six markers for choosing.
Three videos, never more than six.
Three different categories, if possible.
Only one per format, to avoid repetition.
The most recent first.
None you could not make again.
And none you do not have demonstration rights for.
Should you show your prices
Six arguments to settle it.
A starting price filters out requests outside the budget.
It saves three exchanges before the first figure.
It makes the middle package more readable.
It positions you, which is useful even if you are expensive.
It must always come with the scope.
And it can stay a range, if you prefer.
Where the kit lives, and how it differs from influencer kits
Six substantive differences.
One sells an audience, the other a production.
One shows figures, the other files.
One talks about reach, the other about deadlines.
One names visible partnerships, the other categories.
One is judged on the community, the other on execution.
And one dates with the algorithm, the other with your last shoot.
Your marketplace profile as a permanent media kit
Six advantages, when the profile is kept up.
It is always current, with no new file to send.
It already contains your packages and prices.
It allows ordering without an exchange first.
It carries your videos in a readable format.
It serves as proof of recent activity.
And it replaces the booking link with the order itself.
How to write the kit
Seven things to fit into it, in one line.
What you produce, in one concrete word.
The categories you cover.
Your shooting languages.
Your city, if it changes anything.
Your usual lead time.
The format you deliver by default.
And nothing else, above all no adjectives.
How to present your packages
Seven lines, the same for everybody.
The package name, by what it allows.
The number of videos included.
The licence duration included.
The media covered.
What is invoiced on top.
The delivery time.
And the starting price, with the currency.
What brands look at, and how to adapt to it
Six elements, in the order observed.
The first thumbnail of the first video.
The sound quality in the first ten seconds.
The category of the products shown.
The language spoken.
The starting price.
And how to contact you.
How to adapt the kit to a category
Six adjustments that take ten minutes.
Move up the video closest to the target product.
Change the opening line to name the category.
Remove the unrelated examples.
Add a line on the constraints you accept.
Adapt the announced lead time to the product type.
And leave everything else strictly identical.
The one-page kit, and how to keep it alive
Six blocks, in reading order.
The opening line, at the top, with no giant logo.
The three videos, immediately below.
The packages, with the starting price.
The licence scope, in two lines.
The languages and the lead time.
And the booking link, repeated at the bottom.
How to make it work
Seven places to put it.
In your message signature.
In the biography of your accounts.
In the first pitch message.
In a reply to a listing.
On your marketplace profile.
In your licence renewal follow-ups.
And in the message accompanying every delivery.
What to update, and when
Six update triggers.
After every job that produces a better video.
After every rate rise.
After adding a shooting language.
After a change in your usual delivery time.
Every quarter, even with no change.
And immediately if a video shown is no longer authorised.
Measuring what works, avoiding what fails
Six figures, noted every month.
The number of opens, if the link allows it.
The number of replies received after sending.
The number of messages exchanged before the first order.
The number of out-of-budget requests.
The number of orders placed with no prior exchange.
And the average delay between sending and reply.
What a single page contains
| Block | What goes in it | Length |
|---|---|---|
| The identity | Name, city, languages, formats delivered | Two lines |
| The samples | Three links, no more | Three lines |
| The terms | Starting rate, lead time, included revisions | Four lines |
| The contact | One channel, only one | One line |
What replaces audience figures
The number of videos delivered, the on-time rate, and the sectors already served. Those three speak of a service, not of a reach.
What changes before each send
The rate, the availability and the sample closest to the recipient. An identical document sent to thirty brands reads like a mass mailing and gets treated as one.
The most frequent mistakes
Six reflexes that lose contracts.
Sending a heavy file as an attachment.
Putting a link that asks for access permission.
Showing a rate with no scope.
Showing six videos of the same type.
Forgetting the shooting languages.
And never saying how you get booked.
One last marker: a media kit is not judged on its beauty, it is judged on the number of messages it saves you before the first order.
