A media kit is not read like a dossier. It is skimmed in ten seconds, on a phone, by somebody with thirty replies to handle and a shoot to schedule.
What to put on one page
Five blocks, not one more.
Three videos, the best ones, not the most recent. One line per video saying what is yours. The languages you speak on camera and your accent. The categories you can film, with one example each. Your usual turnaround and your delivery formats.
Finish with a single way of contacting you, the fastest, not four.
What to leave out
Everything about you rather than about the work.
The follower count, the year of birth, the list of software you master, an inspiring biography, a moodboard, a colour palette, a studio photo of yourself.
Also remove the videos you do not like. A kit is judged by its weakest piece, never by its average.
Why the link beats the file
A link opens in the conversation, a file asks for a download.
The link updates without resending anything, it opens on a phone as on a computer, it weighs nothing, and it does not end up in the junk folder. The file arrives at a moment when nobody has time to open it.
If you absolutely must supply a document, do it in addition to the link, never instead of it.
What the agency looks for in ten seconds
Three answers, in this order.
Can this person talk to camera without seeming to read. Does their environment resemble that of our customers. Have they already filmed something close to our product.
Organise your page so those three answers arrive before everything else.
Prices: display them or not
Display a starting point, not a full rate card.
A clearly stated lower figure avoids pointless conversations in both directions, and it saves you time. A detailed rate card, on the other hand, locks you in before you even know the job.
How to use it
The kit does not prospect for you.
Send a short message saying what you have seen of their product, what you would do, and the link. The kit serves to confirm a good impression, never to create one.
What a useful presentation deck contains
| The page | What it shows | The common mistake |
|---|---|---|
| The first | Who you are, in three lines | An overlong biography |
| The second | Three delivered videos, with their context | A bare link with no explanation |
| The third | Your packages and the rights included | A vague, negotiable price |
What a brand looks at first
The quality of what you have already delivered. Account statistics come second, because a commissioned video serves the brand's advertising, not your personal audience.
What must appear in black and white
The rights duration, the permitted media and the delivery time. A deck leaving those three implicit triggers a painful negotiation right before payment.
What gets it ignored
A first video taking three seconds to start, average sound, a page asking for access permission, or a dead link.
Check yours once a quarter from a phone you do not normally use, without being signed in to your account. It is the only check that counts, and almost nobody does it.
