How agencies buy, what they really pay, what they will try to obtain on top, and why a good agency changes a whole year.
How they buy
Three differences from a brand, and they change how you work.
They buy for somebody else: the brief you receive has already been filtered, and what you are missing was often removed upstream.
They buy in batches: rarely one video, often six or ten, with a tight schedule.
And they buy peace of mind: somebody delivering on the date, in the right format, with no chasing, is worth more to them than somebody more creative but unpredictable.
What they pay
Three realities, to know before negotiating.
The unit rate is lower than direct, often by twenty to thirty per cent.
The volume is regular, which partly compensates, provided the relationship lasts.
And the rights are often broader than announced, because the end client will want to run paid advertising. Invoice them separately, from the first quote, or they will be asked for later with no supplement.
What they will try to obtain on top
Four recurring requests, all legitimate as long as they are paid for.
The raw files, in addition to the edit.
Extra formats, square and horizontal, on top of vertical.
Hook variants, three or four versions of the opening seconds.
And an extension of duration or territory, asked for afterwards, when the campaign works.
The rule that protects you: list those four items in your quote, each with its price, even if you give one away. What is costed is no longer asked for free.
How to become a regular supplier
Four behaviours, and they count more than talent.
Reply within the hour, even to say you will answer in the evening.
Deliver a day early, never on the day itself.
Name your files by their convention, not yours.
And report a problem yourself before it is discovered. An agency forgives an announced delay, never a discovered one.
What to ask in the first exchange
Five questions, and they avoid half the bad surprises.
Who the end client is, or at least the sector.
Where the video will run, on which channels, for how long.
How many revisions are included, and who approves them.
The payment term, expressed as a date, not a number of days.
And whether there are imposed mentions to say or display.
What an agency does, and what it does not
| Task | Handled | Left to the creator |
|---|---|---|
| Finding the client | Yes | No |
| Writing the brief | Often | Sometimes to clarify |
| Filming and editing | No | Yes |
| Handling payment | Depending on the contract | To be checked |
What to ask before joining a roster
The names of the end clients, the payment term, the number of revisions included and how orders are allocated among creators.
What makes the relationship last
Delivering ahead of the date, naming the files as requested, flagging a problem before it becomes a delay. Those three habits are worth more than a low rate.
How many agencies
Three, and no more at the start.
One alone makes you dependent: if its client changes supplier, your year stops.
Beyond three you no longer hold the schedules, and the reliability that fed you is the first thing you lose.
Aim instead for three solid relationships, with turnover balanced between them, and always keep two direct clients so as not to lose touch with the market price.
