Questions to Ask a Videographer
Questions to ask a videographer before you hire one, whether the job is a wedding, an event or video for a business. The 52 questions follow the order of a good first call: style and experience, crew and gear, the day itself, the edit and delivery, then cost and contract.
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The questions
Each question, and why to ask it
Style and Experience
Are you available on my date, and what else do you have booked around it?
Why ask it
Nothing else on this list matters if the date is gone, so settle it before you fall for the reel. A shoot the day before or a second job that evening affects how early they can arrive and how late they can stay. If your date can move, ask which days they would pick.
What kind of work do you do most of?
Why ask it
Weddings, corporate films, documentaries and social clips call for different instincts and different gear, and few people are equally strong at all of them. If they say they do everything, ask how many of each they shot last year.
How would you describe your style, both in how you shoot and how you edit?
Why ask it
Words like cinematic, documentary and natural mean different things to different people, so ask them to point at one of their own films that shows it. Then tell them which of their pieces is closest to what you want. Hiring someone to work against their usual style is a gamble for both of you.
Can I watch a full finished piece from start to finish, rather than a highlight reel?
Why ask it
A reel is cut from the best two seconds of many shoots, so it cannot show pacing, sound or how a story is built. In a complete film, listen to the speech audio and notice where your attention drifts. Ask for one made for a client like you, not only their own favorite.
Who will actually be filming on the day: you, or someone else?
Why ask it
The person on the call and the person behind the camera are not always the same, particularly at studios with several shooters. That is fine if you know before you book. Ask for films shot by whoever would be on your job, and have their name put in the agreement.
Have you shot a job like mine before, and what was the hardest part of it?
Why ask it
Most videographers can name a comparable job, and fewer will tell you what nearly went wrong on it. A specific answer, such as a generator drowning out the speeches or a schedule that slipped by an hour, shows someone who has solved problems on location. Follow up with what they would do differently on yours.
How long have you been filming for clients, and is it your main work?
Why ask it
Years matter less than the number of paid jobs like yours, so ask for that figure too. Part-timers can be excellent, but find out how a day job affects reply times and how quickly an edit comes back.
Have you filmed at my venue or location before, and if not, will you see it ahead of the shoot?
Why ask it
Someone who knows the room already knows where the light falls, where the outlets are and what the staff allow. For a new location a visit is best. A walk-through on a video call, or phone photos taken at the hour you will be filming, is a fair substitute.
How much do you direct people, and how much do you leave alone and film as it happens?
Why ask it
Some videographers stage almost nothing, and others will have you walk through the same door three times. Neither is wrong, but a mismatch is tiring on the day. For an interview or a promo, also ask whether they write the questions or expect a script from you.
Based on what I've told you, how would you describe the video we're making?
Why ask it
Asked early, this shows whether they listened or are selling a format they already had in mind. Someone who plays your brief back with a clearer shape than you gave it is worth talking to; someone who describes their usual package has not taken in your project.
If most people will watch this on a phone with the sound off, how does that change what you shoot?
Why ask it
This one is for anything headed to a social feed, so skip it for a film you will watch at home. Good answers mention tighter framing, text on screen, captions built into the picture and an opening that works without audio. An answer that is all about resolution is an answer about gear.
Can I speak with two recent clients, including one whose project was difficult?
Why ask it
The second half of the request is the useful part, because it shows how they communicate when something slips. Two things to ask those clients: whether the delivery date was met, and whether they would book again. If a busy professional cannot put you in touch with anyone, ask why.
Crew and Gear
How many people will be on the crew, and what does each one do?
Why ask it
One person cannot run two cameras, monitor sound and move lights at once, so the size of the crew sets a limit on what gets covered. With a solo shooter, ask what goes unfilmed while they change a battery or carry a tripod across the room.
How many cameras will be running, and where will they be?
Why ask it
With a single camera, every cut in a speech or an interview has to be hidden under other footage. Two or more let the editor change angle and rescue a shot that went soft or got blocked by someone standing up. Ask which cameras have a person behind them and which are left on a tripod.
How will you record sound, and what happens in a room with bad acoustics?
Why ask it
A microphone on the camera picks up the room more than the person speaking, which is how words get lost in echoing halls and windy gardens. Listen for specifics: clip-on mics, a recorder on the lectern, a feed from the venue's sound system, and a second recording in case the first fails.
How do you handle difficult light, like a dark church, a bright window behind someone or colored stage lighting?
Why ask it
These are the standard hard cases, and an experienced shooter will say what they bring and what they cannot fix. Find out whether they carry lights, where the stands would go, and what they do in a venue that bans extra lighting. A film of theirs shot in a room like yours settles it faster than a description.
Do you fly a drone, and are you licensed and allowed to fly it where we'll be?
Why ask it
Aerial shots are popular and closely regulated, and the rules differ by country, by how near an airport is and by who owns the land. Ask who checks that flying is permitted at your location and whether their insurance covers it. Then ask what replaces those shots if wind or rain keeps the drone on the ground.
What do you shoot on, and what resolution will the finished files be?
Why ask it
The brand of camera tells you little, so listen for the reasoning behind the choice. Footage shot at a higher resolution than the delivered film leaves room to crop a wide shot into a vertical one. If the video will play on a large screen at an event, mention it here.
What backup equipment do you bring for camera, sound, batteries and cards?
Why ask it
At an event that cannot be repeated, a spare is the difference between an inconvenience and a lost day. Check that the second camera is a match for the first, since footage from two different models can be hard to blend in the edit, and that sound is being recorded in more than one place.
How do you back up footage on the day and afterwards, and how long do you keep it?
Why ask it
Two copies made before they leave the venue, kept in separate places, is the answer to hope for. Retention is the other half: some videographers clear raw files a few months after delivery and others keep them for years, which matters if you might want a different edit later.
On the Day
What do you need from me to do this well?
Why ask it
Good answers are concrete: a schedule, a contact on site, access times, somewhere to plug in, a quiet room for interviews. Write the list down and send it back to them as a checklist. If they need nothing at all, ask how they plan to find their way around the day.
How do we agree the list of moments and people that must be on film?
Why ask it
A written list protects the shots that only happen once: a handshake on stage, a grandparent, a product demo working the first time. Ask when they want it and who on site can point people out. Keep it short, because a long list turns the day into ticking boxes and leaves no room for what nobody planned.
How much setup time do you need before filming starts, and what will the space look like while you work?
Why ask it
People plan around the filming and forget the hour of lighting before it. Ask about cables, power, how much furniture moves and how many rooms are out of use, especially if colleagues, customers or guests will be around. Packing up takes time too, which matters if the room is needed straight afterwards.
How do you cover more than one location in a day?
Why ask it
Every move uses up booked time and risks missing something at the place they just left. Ask for the schedule they would build, whether a second operator stays behind, and how they keep the look consistent when one place is bright and the next is dim.
How do you work with people who freeze up on camera?
Why ask it
It matters most for testimonials, founder interviews and anyone giving a speech. Practical answers involve arriving early, an unhurried warm-up, questions sent in advance, filming out of order, or interviewing while the person does something with their hands. If they have no method, expect stiff footage.
How do you share the space with a photographer or other crew working the same event?
Why ask it
Two people chasing one angle end up in each other's pictures. You are listening for a habit of getting in touch beforehand and agreeing who goes first at the moments that count. If a photographer is already booked, give both of them each other's details this week.
How noticeable will you be to guests or staff while you film?
Why ask it
A camera at arm's length from someone's face changes how they behave, and so does a light on a stand. Ask what they wear, how close they work and whether they speak to people mid-shot. If you want a room that forgets it is being filmed, expect them to work from farther back and to ask less of people.
Who arranges permission to film at the venue, in public places and from the people who appear?
Why ask it
Venues, parks, shops and offices often have their own rules, and some public places need a permit that takes time to come through. For a business video, ask whether they supply release forms for staff and customers who appear. Requirements vary from place to place, so ask how it works where you are filming.
What is the plan if the weather turns on an outdoor shoot?
Why ask it
Rain covers and a nearby doorway deal with a shower. A storm on the only day you have is a different problem. For an event, ask where they would move to; for a shoot that can be rescheduled, ask how late the decision is made and whether the postponed day is charged.
On a long day, when do you take breaks, and do I need to arrange a meal?
Why ask it
Contracts for all-day events often ask for a meal and somewhere to sit down for ten minutes. Time it for a stretch when nothing needs filming, such as while guests are eating. A camera that goes missing during the toasts is usually the result of a break nobody scheduled.
What part of this project do you think is most likely to go wrong?
Why ask it
Hold it until they know the details. An experienced videographer names something concrete, such as the light in that room at four o'clock or one speaker's availability, and often proposes a fix. If the answer is that nothing ever goes wrong, ask about the last job that surprised them.
Edit and Delivery
What exactly do I receive at the end: how many films, how long, and in which formats?
Why ask it
A main film, a short teaser and a set of vertical clips are separate pieces of work, and this is where what you pictured and what was quoted drift apart. If the video is for social media, ask about captions and square or vertical versions. Have every deliverable written into the contract with its length and format, however clearly it was described on the call.
Who edits the footage: you, or an editor I won't meet?
Why ask it
Plenty of good studios pass footage to a separate editor, and some send it to an outside editing service. That is fine as long as the films you were shown were cut the same way. Ask how the preferences you describe in this conversation reach the person doing the cutting.
How long from the shoot to a first cut, and to final delivery?
Why ask it
Ask for their current turnaround, since a busy season can stretch it well past the usual figure. Then find out whether the delivery date goes in the contract and whether you will hear from them during the wait. A long queue is easier to live with when someone tells you where you are in it.
How much say do I get in the edit: the music, the moments, the order?
Why ask it
Some videographers treat the cut as their own work and take requests only before they start. Others send a questionnaire and build around your answers. Either can work once you know which one you are buying, and if one song or one person has to be in it, put that in writing before editing begins.
How many rounds of revisions are included, and what counts as a revision?
Why ask it
Fixing a misspelled name and recutting a whole sequence are very different amounts of work, and a contract that only says 'two rounds' does not tell them apart. Agree where the line is, and the rate for anything beyond it, before the first cut arrives.
How is the music licensed, and does that cover everywhere I plan to post the video?
Why ask it
Ask which library or license the track comes from and what it allows, because terms differ on things like paid ads and broadcast. A well-known song may not be something they can license at all, and a platform can mute or remove a video whose music is not cleared. For a business video, get the license terms in writing.
How will the finished video reach me, and how long will the link or files stay available?
Why ask it
A streaming page is easy to share, but it lasts only while someone keeps paying for the hosting. Ask for a full-quality file you can download as well, and for the date the link expires. Save your own copy the week it arrives.
Do I get the raw footage, and at what cost?
Why ask it
Some hand over everything, some never do, and some charge for the drive and the hours of copying. Raw files are large, not yet color corrected and may need particular software to play, so ask what you would actually receive and whether an ordinary laptop can open it.
Who owns the footage and the finished film, and where can I use it?
Why ask it
Paying for a video does not always mean owning it: a videographer may keep the copyright and grant you a license for named uses, which can leave out paid advertising or resale. How that works depends on the contract and on where you are, so read the clause closely. If you need broad rights, say so now, because it can change the price.
Would you want to use this footage in your own portfolio, and do I get to approve that?
Why ask it
Often harmless, and sometimes something to trade for a better price, but not if the video shows a private home, children, a client's premises or an unreleased product. Settle it before the shoot so you do not find out from their website.
Can I come back later for another version: a shorter cut, a new format, an update?
Why ask it
Businesses need this whenever a price, a logo or a member of staff changes. It is only possible if they keep the editing project as well as the footage, so ask about both. Get the rate for later changes now, while you are still a new client they want to win.
Cost and Contract
How is this priced: hours on site, or the finished piece?
Why ask it
Hourly pricing puts the risk of an overrun on you, and a fixed price for the finished piece puts it on them. Knowing which one you are in tells you who feels the pressure when the day runs slow, and which number to compare when you line up quotes.
What packages do you offer, and can I swap parts of one?
Why ask it
Packages are built around what most clients ask for, which may not be what you need. Find out what comes off the price if you drop the drone or the teaser, and what an added hour costs. If nothing can be changed, compare the package line by line with what you would really use.
How many hours of filming does the price include, and when does the clock start?
Why ask it
Some count from arrival, some from the first shot, and time spent driving between two locations may or may not be inside the total. Put their start and finish times next to your own schedule and see what falls outside. Look hardest at the end of the day, where a late speech or a send-off is easy to leave uncovered.
What is the total cost, and what is billed separately?
Why ask it
Name the usual extras one by one: travel, parking, overtime, second cameras, drone work, music licenses, captions and extra edits. Two quotes that look far apart can turn out close once the separate lines are added in, so compare totals for the same list of things.
What happens to the bill if the day runs longer than booked?
Why ask it
Events overrun, and the decision to pay for another hour usually gets made in a hurry. Ask for the overtime rate, whether part of an hour is billed as a whole one, and who on your side can approve it on the spot. Check they can stay at all, since some have to pack up at the booked time whatever you offer.
How much is the deposit, when is the rest due, and what happens if either of us cancels?
Why ask it
You want to know what you lose if you postpone and what happens if they do. Look for what they owe you if they cannot make the date, since a promise to find a replacement is not the same as a refund. Ask too whether the deposit moves with you to a new date.
Can I read the contract before I pay anything?
Why ask it
A written agreement should name the date, the hours, who is filming, the deliverables, the delivery deadline and what happens if either side cancels. Read it against your notes from this call and ask for anything missing to be added. A deposit sent on the strength of a message thread leaves both of you with nothing to point to later.
Are you insured, and can you send a certificate if the venue asks for one?
Why ask it
A venue may refuse to let a crew in without proof of liability insurance, so find out what yours requires before the call. Insurance on their own equipment is worth a question too. If a light stand goes over in your office, both of you will want it clear who pays for the damage.
What happens if you are sick or can't get there on the day?
Why ask it
For an event that happens once, this is the answer to press hardest on. You want a named substitute or a network they can call, a look at that person's work, and a contract that says what is refunded if nobody turns up.
How far ahead do I need to book, and how long will you hold my date?
Why ask it
Lead times vary a great deal between a weekday business shoot and a Saturday in peak season, so ask what theirs looks like for your date. Find out whether an email is enough to hold it or whether only a signed contract and a deposit do. If you are still comparing quotes, say so and ask for the day by which they need an answer.
Hiring and working with a videographer
Practical guidance for the conversation itself
Getting the brief right first
Decide what the video is for
A film to watch once at an anniversary, a recruitment video for a careers page, and clips for social feeds need different shooting and different lengths. Videographers can only quote accurately against a stated purpose and a place it will be published.
Show two examples: one you like, one you do not
Style is hard to pin down with words like cinematic or natural. Two links settle more than an hour of description, and the one you dislike often tells them more.
Say your budget
Withholding it produces quotes aimed at guesses and wastes both sides' time. A number lets a professional tell you what is achievable at that level, including that it is not.
Questions a good videographer asks you
The call should run both ways
This list is written for the person doing the hiring. A videographer worth booking has questions of their own, and hearing none of them is a reason to slow down. Expect to be asked most of these.
- What the video is for, who will watch it, and where it will be shown.
- The date, the location, the running order, and how firm each of those is.
- Which moments and which people cannot be missed.
- Who signs off the edit, and how many people will have an opinion.
- Whether anyone must not appear on camera.
- What you have seen that you liked, and what you did not.
- The budget, and the date you need the finished files by.
Comparing quotes fairly
- 1Hours of filming included, and whether setup and packing up count inside them.
- 2Number of cameras and number of people, since this caps what can be covered.
- 3Deliverables by length and format, listed one by one.
- 4Turnaround for first cut and for final files.
- 5Revisions included, and the rate afterwards.
- 6Overtime: the rate for each extra hour, and whether they can stay late at all.
- 7Rights granted, and whether paid advertising is permitted.
- 8Everything charged separately: travel, drone, captions, music, extra versions.
Where video projects go wrong
Nobody planned the audio
A speech, a vow or an interview can look fine and still be unusable because nobody can hear it. Ask where microphones will be, whether a feed from the venue's system is possible, and what the backup recording is.
The venue's rules were never checked
A venue may restrict where a camera can stand, forbid extra lighting, or require insurance from suppliers. Put the videographer in touch with the venue directly so the answers are not relayed through you.
Rights were never discussed
Finding out after delivery that you cannot run the film as an ad is an expensive surprise. Settle usage in the contract, including whether they can use your footage in their own marketing.
The edit was reviewed by a committee
Contradictory feedback from six people uses up the included revisions quickly and wears everyone down. Nominate one person to gather the notes and send them once per round.
Before and on the day
- Send a timed schedule and a short list of people and moments that must be captured, with names.
- Give them a contact who is not you, since you will be occupied when a question comes up.
- Confirm access times, power, parking and any venue paperwork a week ahead rather than the night before.
- Tell anyone being filmed in advance, and check whether anyone must not appear on camera.
- For anything outdoors, agree the wet-weather plan and who makes the call.
- On an all-day job, write the crew's meal and break into the schedule so it falls where nothing needs filming.
- Ask for confirmation that footage was backed up before they leave, and ask again in writing the next day.