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Video production companies plan, shoot and edit film for business use: brand films, product demonstrations, customer testimonials, recruitment pieces, event coverage and explainers. The craft questions are familiar. The ones that cause disputes afterwards are about rights, and they are almost always settled badly or not at all.

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Three separate rights bundles sit inside a finished video. The footage and the edit are copyrightable works, and because a production company is not your employee, ownership moves to you only by written assignment; otherwise you have whatever licence the contract describes. The people and places on camera need releases. And any music or stock footage carries its own licence, with terms about where the video may run, for how long and in what territory.

Get those three settled in the quote rather than the invoice. A video licensed for one year of social use is a different product from one you own outright, and the difference in price is usually smaller than the cost of re-shooting when the licence expires.

Brand films, testimonials, product video and events

  • Brand film: one longer piece about who you are, usually the most expensive and the least measurable.
  • Product and demonstration video, where clarity beats cinematography and a script matters most.
  • Customer testimonials, which are endorsements and carry disclosure and substantiation questions.
  • Recruitment and culture video, filmed on your premises with your staff, so releases are unavoidable.
  • Event coverage and recap edits, priced by shoot day and turnaround rather than by finished minute.
  • Animation and explainer work, which has no shoot but the same ownership and music licensing questions.

Releases, locations and permission to film

  • A signed appearance release from every identifiable person on camera, taken on the day, not chased later.
  • A parent or guardian signature for anyone under 18, plus whatever the state requires for minors at work.
  • A location release from the property owner or manager for any private premises.
  • Permits from the city or county for filming on public streets, which vary widely and can take weeks.
  • Permission for any third-party brand, artwork, signage or music playing in the background of a shot.
  • Employee releases even for staff, because an employment contract rarely covers commercial use of a likeness.

Music, stock footage and the licence you are actually buying

Recorded music generally involves two sets of rights, one in the composition and one in the recording, and permission to use it in a video has to come from whoever controls them. Library and production music services simplify this by selling a defined licence, but the definition is the point: read what it covers. A licence for organic social use will not cover a paid advertising campaign, and a licence limited to one territory will not cover a global site.

Stock footage, motion graphics templates and sound effects carry the same kind of limits. Ask the production company for a written list of every licensed element in the finished edit, with the licence type and expiry. Then check that the term of those licences matches how long you intend to run the video. The failure mode is discovering three years in that an asset in your best-performing advertisement was licensed for twelve months.

Captions, transcripts and accessible video

Video without captions is one of the barriers the Department of Justice names in its web accessibility guidance, alongside missing alternative text and poor contrast. For a business publishing video on its own site, captions are the single most consequential accessibility deliverable, and they are cheapest to produce at the same time as the edit.

Ask for burned-in or sidecar caption files as a named deliverable, not an extra. Add a transcript, which helps search engines as well as viewers and gives your content team something to reuse. Where audio carries information the picture does not, or the picture carries information the audio does not, consider a described version. If the video will be used by a government client, the applicable standards become explicit: Section 508 for federal agencies, and WCAG 2.1 Level AA under the 2024 ADA Title II rule for state and local government content.

Drones, insurance and risk on a shoot

Aerial footage is not something a crew can simply take. Commercial drone flights in the United States are flown by certificated remote pilots under the FAA's Part 107 framework, aircraft must meet remote identification requirements, and operations such as flying over people or working in controlled airspace involve specific FAA waivers or airspace authorisations. Ask to see the pilot's certificate and the authorisation for your location before the shoot day.

On the ground, ask what insurance the production company carries and whether your premises are covered while a crew is working there. General liability is the minimum; equipment cover, hired auto and workers compensation for crew are the usual additions, and some venues will not let a crew in without a certificate naming them. If you are filming in an operating workplace, agree who controls access and who stops the shoot if something becomes unsafe.

Pre-production, shoot day and post

  • A written brief: audience, one message, where it will run, and the length each platform needs.
  • Script or shot list approved before the shoot, because changing your mind on the day costs the most.
  • A call sheet naming locations, times, crew, contributors and who is responsible for access.
  • Shoot day, with someone from your business present who can make decisions.
  • A rough cut for one consolidated round of comments, then a fine cut, then colour and audio.
  • Delivery in the formats and aspect ratios each platform needs, with captions and a transcript.

Deliverables, raw footage and project files

  • Say in the contract whether you are buying ownership by assignment or a licence, and for how long.
  • List the delivered formats: platform cuts, aspect ratios, subtitle files and a high-quality master.
  • Decide whether raw footage is delivered, and if so on what media and at whose cost.
  • Project files and edit timelines are usually retained by the producer unless you negotiate otherwise.
  • Agree an archive period and what happens to the footage after it, because storage is not free.
  • Record where signed releases are kept, since you may need them years after the shoot.

Video Production Companies: frequently asked questions

Do I own the video once I have paid for it?

Only if the contract assigns it to you in writing. A production company is not your employee, so the footage and the edit remain its property unless ownership is transferred. Many producers licence rather than assign, which can be perfectly reasonable if the licence covers where you will run the video and for how long. Read that clause before the shoot, not after.

Can I use popular music in a corporate video?

Not without permission from whoever controls the rights in both the song and the recording, which for well-known music is usually expensive and slow. Production music libraries exist for this reason and sell a defined licence instead. Whatever you use, check the licence covers paid advertising if you plan to run the video as an ad, and covers the territories and the length of time you need.

Do I need releases from my own employees?

Take them. An employment contract rarely grants the right to use somebody's face and voice in commercial marketing, and people leave. A short signed release taken on the shoot day, covering the uses and the timeframe you need, avoids a request years later to pull a video because a former employee objects to appearing in it.

Should the video be captioned?

Yes. Video without captions is one of the accessibility barriers the Department of Justice identifies in its web guidance, and most social video is watched without sound anyway. Ask for caption files and a transcript as named deliverables in the quote, because adding them after delivery costs more and often means going back to the editor.

What does a video quote need to specify?

Shoot days and crew size, locations, whether a script is included, the number of revision rounds on the edit, the delivered formats and aspect ratios, captions and transcripts, music and stock licensing with terms, drone work if any, and whether you receive ownership or a licence. A price per finished minute with none of that attached is not comparable to anything.

Sources

  1. US Copyright Office — What is Copyright?
  2. US Copyright Office — Circular 9: Works Made for Hire
  3. ADA.gov — Guidance on Web Accessibility and the ADA
  4. ADA.gov — Fact sheet: new rule on the accessibility of web content and mobile apps
  5. Section508.gov — Laws and policies
  6. FAA — Certificated Remote Pilots including Commercial Operators

Written by the LokalMatch editorial team. Last reviewed September 22, 2026. How we write and check our guides

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What affects the fees video production companies charge

Fees depend on the work involved and how the professional bills. We only publish fee ranges when they’re backed by real LokalMatch data or reliable sources. Until then, here’s what usually changes the fee:

  • Scope and complexity of the work
  • How the firm bills: hourly, per project or on a monthly retainer
  • Experience of the team
  • Timeline and how urgent the work is
  • Ongoing support after the work is delivered

How to compare video production companies before you hire

  • Ask for examples of similar work for clients like you.
  • Read reviews and ask for references you can contact.
  • Make sure the scope, deliverables and timeline are written down before work starts.
  • Ask who will do the work: an in-house team, freelancers or subcontractors.
  • Compare two or three proposals before you decide.

Questions to ask video production companies before you hire

  • Have you done work like this before, and can I see examples?
  • Who will work on this, and who is my main contact?
  • How do you charge: hourly, per project or monthly?
  • What is included, and what costs extra?
  • How long is the contract, and how can either side end it?
  • How will you report on progress?
  • Who owns the work, files and accounts you set up for me?

Licences and registration

This kind of work is often limited to licensed or registered professionals, and the rules depend on where you are. Ask which body they’re registered with, and check their status on that body’s public register before you hire.

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