How to Brief a Videographer

Start with what the video has to do

Before anything about cameras or style, a brief should answer one question: what should happen after someone watches this? Maybe they book a table, apply for a job, pre-save a single or finally understand a new service. A videographer can only make good decisions about length, tone and structure once that goal is clear.

If there are several goals, rank them. A recruitment film that also tries to sell the product and tell the company history usually does none of the three well. One clear job per piece is a good rule, and a single shoot day can often cover more than one piece.

Who is watching, and where

Describe the audience in plain terms: who they are, what they already know about you and what they care about. Then list every place the video will run. A website hero film, a 30 second YouTube ad and a vertical Reel need different framing, different pacing and sometimes different shots, so the crew has to know before the shoot, not after it.

If you are unsure which formats you need, say so. The video formats guide covers the common shapes and where each one is used.

What to include in the brief

A useful brief fits on one or two pages. It does not need to be polished; it needs to be complete. Cover these points:

The goal: what the viewer should do or feel afterwards
The audience: who they are and what they already know
Where it will run: website, social platforms, TV, screens at events, internal channels
Key messages: the two or three things that must be said, in order of importance
Tone: two or three reference videos you like, and one you do not
People: who will appear on camera and how comfortable they are with it
Locations: addresses, access times and any restrictions
Deadlines: the date it has to be live, and any fixed dates such as a launch or an event
Approvals: who signs off, and how many people need to see each version
Brand material: logos, fonts, colours and any music you already hold the rights to

References beat adjectives

Words like “cinematic”, “authentic” and “premium” mean something different to everyone. Links to two or three videos you like, with a note on what you like about each (the pacing, the colour, the way people talk to camera), tell a crew far more. A reference you dislike is just as useful, because it rules out a direction early.

References are a starting point, not a script. A good videographer uses them to understand the feel you want, then suggests what suits your story, your people and your budget.

Be straight about budget

Many people leave the budget out of a brief in case it anchors the quote. In practice it does the opposite. Without a number the crew has to guess at the scale of the project, and two quotes for the same brief can describe completely different productions. Sharing a range lets the videographer tell you what is realistic, what to prioritise and what could wait for a later shoot.

If the work is ongoing rather than one-off, say that too. Monthly content is often better handled as a retainer than as a string of separate quotes; the retainer vs one-off guide explains the difference.

The practical details crews need

Shoot planning depends on details that are easy to forget. Does the venue have parking and power? Can you film during opening hours? Will staff or customers appear in the background and need to agree to it? Is there noise from traffic, kitchens or machinery? Mention anything you already know, even if it seems minor.

If you are filming people who are not used to the camera, flag that as well, so the crew can allow extra time and keep the set relaxed. The natural on camera guide is worth sending to anyone who will appear.

Common gaps in a brief

Most briefs that cause trouble later are missing one of a handful of things. None of them take long to add, and each one saves a round of back and forth once the project is moving:

No clear decision-maker, so feedback arrives from several people and contradicts itself
A deadline with no reason attached, which makes it hard to know what can move
Formats decided after the shoot, when the framing can no longer change
Music chosen late, after the edit has already been cut to something else
People on camera who have not been told they are in it

What happens after you send it

A good videographer comes back with questions before a quote. Expect to talk through the goal, the formats and the shoot day, then to see a plan: a shot list, a running order, or a short treatment for bigger pieces. If nobody asks questions, the brief has probably been read as a price request rather than a project.

At Billie, a brief goes to the same team that plans, shoots, edits and delivers the work, so nothing falls between people. You can send one through the contact form, or read more about hiring a videographer or a full video production team.

Questions

How long should a video brief be?

One or two pages is enough for most projects. The goal, audience, formats, key messages, references, deadline and budget range matter far more than length or polish.

Should I write the script myself?

You can, but you do not have to. Many briefs list the key messages and leave the structure to the production team, who shape a script and send it back for approval before the shoot.

What if I do not know what I need yet?

Say so in the brief. Describe the problem you are trying to solve and where the video will be used, and a videographer can suggest the format, length and approach.

Is this a paid service?

Yes. Billie is a paid production company. Production Retainers are $1,500 NZD a month for Essential and $3,000 NZD a month for Creative, and Studio Partner is priced on enquiry. Projects outside a retainer are quoted per project as Bespoke Production, and Billie Private events are quoted per project.

Work with Billie

Every vision begins somewhere.

Tell Billie about the project, the timeline and which retainer suits, or ask for a Bespoke Production quote.

How to brief a videographer