Creative & digital
Free Videography Invoice Template
Free videography invoice template covering pre-production, crew day rates, edit hours and deliverable cutdowns. Customize it and send the client a clear PDF.
Free · No signup · Editable · PDF in under a minute
Video budgets have three phases and clients only picture the middle one. This template invoices all three: pre-production — scripting, storyboards, casting, location scouting and scheduling; production — crew day rates by role, camera and lighting packages, audio, grip, travel and any location or permit fees; and post — editing hours, color, sound mix, motion graphics, licensed music and every deliverable version. Cutdowns are the line clients forget. A hero film plus a sixty, a thirty, a fifteen and three vertical social edits is five extra exports and several hours of work, so each version gets its own row and its own price. Overtime past a ten-hour day should be stated rather than absorbed, because the crew you hired will bill you for it. Licensed music and stock pass through at cost with the license scope named. Usage terms follow the same logic as stills: media, territory and term, with paid media priced apart from organic.
Invoice
Bill To
Northwind Coffee Co.
402 Bleecker Street
New York, NY 10014
- Number
- INV-0042
- Issue Date
- Jul 1, 2026
- Due Date
- Jul 31, 2026
| Description | Qty | Unit Price | Amount |
|---|---|---|---|
| Production day — director / camera operator (10 hr) | 1 day | $2,850.00 | $2,850.00 |
| Second camera operator and sound recordist | 1 day | $950.00 | $950.00 |
| Post-production: edit, color and sound mix | 18 hour | $125.00 | $2,250.00 |
| Additional cutdowns (60s, 30s, 15s vertical) | 3 version | $350.00 | $1,050.00 |
| Licensed music and stock footage (at cost) | 1 project | $225.00 | $225.00 |
- Subtotal
- $7,325.00
The template opens with these lines already filled in. Change any of them — they are a starting point, not a price list.
What a videographer invoice usually contains
These are the lines this template starts with, at illustrative US rates for 2026. Every description, quantity, unit and rate is editable.
| Description | Qty | Unit Price | Amount |
|---|---|---|---|
| Production day — director / camera operator (10 hr) | 1 day | $2,850.00 | $2,850.00 |
| Second camera operator and sound recordist | 1 day | $950.00 | $950.00 |
| Post-production: edit, color and sound mix | 18 hour | $125.00 | $2,250.00 |
| Additional cutdowns (60s, 30s, 15s vertical) | 3 version | $350.00 | $1,050.00 |
| Licensed music and stock footage (at cost) | 1 project | $225.00 | $225.00 |
| Total | $7,325.00 | ||
- Default unit
- day
- Payment terms
- Net 30
- Suggested layout
- bold
Terms this template starts with
Payment is 50% on booking and the balance within 30 days of delivery of final files. A production day is 10 hours including a meal break; time beyond that is billed hourly at the day rate divided by ten, plus 50%. Two rounds of edit revisions are included per deliverable; further rounds bill at the post-production rate. Music and stock licenses are passed through at cost and cover only the usage stated. Raw footage, project files and unused takes remain the property of the producer unless separately purchased. Usage rights are granted on final payment for the media, territory and term agreed.
- Your logo, accent colour and business details
- Any currency, with named tax rates per line
- Six layouts on A4 or US Letter
- Hosted payment link and read receipts with a free account
Videographer invoicing questions
- How do I price a video project?
- Build it from phases rather than one number: pre-production, crew and gear days, and post. Estimate post honestly — editing usually consumes more hours than the shoot — and price each deliverable version separately. A single lump sum invites requests for "one more cut," since nothing on the invoice says an extra version costs anything.
- Should overtime be billed?
- Yes, and it should be in the quote. A crew day is conventionally ten hours including a meal break, with overtime billed hourly beyond it and often at a premium. Crews you hire will invoice you for it, so passing it through is not optional. Put the day length on the invoice so overtime is arithmetic rather than argument.
- What about music and stock licensing?
- Pass it through at cost on its own line with the license scope named, and make sure that scope covers how the film will actually be used — a cheap social license does not cover broadcast or a paid media run. Never use unlicensed music on client work; the takedown hits the client and the liability lands on you.
- Who owns the raw footage?
- By default you do, and most producers retain it. Clients sometimes want the rushes; that is a separate deliverable with its own price, plus the cost of transferring and storing terabytes. If you do not hand over raws, state how long you will archive them and what retrieval will cost later.
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