From booking and pricing through to turnaround and licensing. If your question is not here, ask, and it will end up on this page for the next person.
Photography and video: brand, commercial, corporate and events. I also do aerial work with a licensed drone kit. The idea is to be your one contact across all of it, so nothing gets lost between different creatives.
Yes, and both get the same care. A quarter day of headshots for a small team and a multi day production with crew, lighting and a full edit sit on the same scale; what changes is how much the day holds, not the standard of the finish. Small jobs are often where a long working relationship starts.
Yes. I am a hybrid shooter, so the headshots, the photo library, the story driven film and the social media video cuts come from the one day, the same light and the same brief. One person on site, one invoice, and stills that match the films.
Melbourne businesses that compete on quality: builders and trades, hospitality, health and wellness, professional services, schools and event teams, plus agencies who need a reliable freelance partner. Most of the work ends up on websites, YouTube, LinkedIn, social and paid ads.
Plainly. You get a fixed price in writing, no pressure tactics and no surprises at invoice. I would rather tell you a half day is the honest scope than sell you a full one, and rather turn a job down than do it poorly. The aim is content people remember: a feeling, a memory, an idea.
Based in Melbourne. I work across Victoria regularly and take interstate and national campaigns depending on the project. The kit is built to travel light without cutting corners on quality.
Often. I slot in as a freelance partner, your brief, your client and your deadlines, and hand back finished files or project footage in whatever structure your editor wants. Agency work runs on its own agreement, so the finished work can pass straight to your client.
Every job is quoted on scope rather than a rate card, because a half day of headshots and a half day on a build site are not the same job. Tell me what the work needs to do and you get a fixed price in writing before anything is booked. No hourly creep and no surprises at invoice.
Projects start from $1,000. Video carries more moving parts than stills, including audio, music licensing and the edit, so the quote spells out exactly what is included. The packages and day rates guide explains how quarter, half and full days are used to scope a job.
Three lengths. A full day is the standard unit and covers the majority of briefs. A half day suits a single location with a tight shot list. A quarter day exists for small, simple jobs that genuinely do not need more.
Everything is still quoted as a fixed fee against the brief. The day length is how the shoot is scoped, not a meter that runs on the day.
A single, contained job. A set of headshots for two or three people, one product on white, a short site visit for progress photos, one testimonial filmed against an existing setup.
The test is whether it can be briefed in a sentence and shot in one place without lighting being rebuilt. If the answer is no, a half day is the honest scope and will produce better work.
Yes, and it is often the most efficient thing you can do. Quarter days are built to stack: two or three small jobs in the same part of Melbourne on the same day make up a full day between them, and each one is cheaper than it would be booked alone.
What makes it work is proximity and timing. Three quarter day jobs spread across the metro area with gaps between them is a full day of driving, not a full day of shooting, and it gets quoted accordingly.
The number of setups, more than anything else. Every time the lighting has to be rebuilt or the location changes, that is time. Ten products in one setup is quick; ten products each needing their own treatment is a different day.
After that: travel beyond the standard service area, talent or models, studio hire, the size of the edit, and how fast you need it. Each of those is shown as its own line so you can see what it costs and drop it if it is not worth it.
A short planning call, an agreed shot list, the full production kit and up to two hours return travel, then the shoot, a full colour grade and delivery in the sizes you need: full resolution for print, web sized for the site and vertical for socials.
A perpetual licence for your business, three months of file hosting and revision rounds as set out in your quote are part of the job, not extras.
The shooting rates cover the day on site. Editing is quoted per job, because a set of graded photos and a three minute brand film with captions and music are very different amounts of work. Your quote shows post production as included and spells out exactly what you receive.
Business and agency quotes are shown plus GST. Personal bookings are quoted with GST included, so the number you see is the number you pay.
Yes. Some clients book a regular block of shoot days across a quarter, with a content plan agreed up front so each session builds on the last. It keeps the look consistent, the turnaround predictable and the price per day lower than booking one off. Files stay hosted for the life of the plan.
Yes. You can pause a quarter with thirty days notice and pick back up at the same tier without re onboarding, as long as the gap stays inside six months. Longer pauses scope as a fresh start.
Start with an enquiry through the contact page. From there we set up a quick call to talk through your project. Once we are aligned on scope everything comes through my client portal: proposal, contract and payment schedule in one place.
A 50% deposit secures the date, unless the quote sets a different schedule, such as full payment for a shooting rate day or stage payments on a larger project. If you cancel, the deposit is kept, as it holds a day turned away for you. If I cancel or cannot deliver, everything you have paid is refunded in full.
The balance is due within 7 days of the invoice for business work, and final files are released once it is paid.
Bank transfer is preferred. I also take card and cash. Every job is invoiced, so your records stay clean.
Rescheduling needs at least 2 business days notice and is usually simple, though costs already committed, such as crew, gear hire or permits, may be passed on. Cancelling inside 2 business days of the shoot means the full fee is payable, as the day can no longer be rebooked.
Full terms are in the agreement, and they do not limit your rights under Australian Consumer Law.
Interiors and studio work go ahead regardless. For exteriors and drone work, a weather hold date can be pencilled in at booking. I watch the forecast and make the call; if the day is unshootable, we move to the hold date or swap in the indoor part of the shot list. Overcast skies are often a gift for people and product work.
You are told straight away, and you get a choice: move the date, or have a trusted photographer or videographer from my network cover it, briefed on your shot list and look. On larger productions, a data wrangler backs up every card on site at the end of the day, before the crew disperses.
Yes. Every job runs on a proposal and agreement covering scope, deliverables, dates, payment, revisions and the licence. You approve it before anything is booked, so both sides know exactly what the day holds.
One person available who can make decisions, spaces tidied before I arrive, product clean and ready, and a note to anyone being photographed about what to wear.
I send a one page prep document once the date is locked. Following it is worth roughly an extra hour of shooting, which on a half day is a lot.
I handle the creative plan, shot list, crew, equipment, drone approvals, the shoot, the edit and delivery. You handle access to the site, a decision maker on the day, location and venue permissions, and consent from anyone appearing in the work, including staff, customers and anyone under 18. Public permits sit with you too unless the quote includes them, and I flag when one is needed.
Australia has no single image rights law, but using an identifiable person to promote a business can raise privacy, consumer law and workplace issues, so written consent is the safest standard. Collecting it is your responsibility, since you know your people and how the content will be used. For anyone under 18, a parent or guardian needs to consent.
Sometimes. Commercial filming on public land in Victoria often needs a council permit, and the rules vary by council. In the City of Melbourne, small low impact shoots can go ahead without one, while bigger crews, road use or a drone add requirements. Train stations, trams and parks have their own processes. I flag it at the quote stage and build lead time into the schedule.
Yes. I have preferred studios across Melbourne I work with regularly, from white wall commercial spaces through to lifestyle settings. I can handle the booking and roll the hire into your project invoice.
Yes. For interviews I send questions ahead so nobody is reading answers off a page. For pieces spoken to camera, I help shape a short script and run it on a teleprompter, which keeps delivery natural and the edit efficient.
Most people are, and it rarely shows in the final cut. I keep the crew small, start with easy questions, and treat the first few minutes as a warm up. Interview edits are cut from the whole conversation, so the best and most relaxed answers are the ones that make it through.
We work through this in the planning consultation. The basics: wear something comfortable and avoid thin stripes or busy patterns, which create a moiré effect on camera. Colour matters too, so we factor in the background and location.
A full day runs about 8 am to 4 pm with buffer built in, and shorter days are scheduled to suit the shot list. Early starts for golden hour or evening events are planned into the schedule. Overtime on the day may incur extra charges outside the agreement.
Yes. For bigger productions I bring in trusted people from my network: second shooters, lighting assistants, audio engineers, animators. The right crew for the job, not just whoever is available.
Yes. I hold a CASA Remote Pilot Licence and fly most jobs under it, with drone cover under my $20 million public liability policy. Higher risk work, such as flights near an airport, beyond visual line of sight, thermal and infrared, security work or heavier rigs, is flown by a nominated chief pilot under their own CASA operator’s certificate. Each certificate carries different approvals, so the pilot is matched to what the job needs, and these jobs usually run with a crew of two or more.
More on drone photo and video and industrial drone services.
Standard operations stay at least 30 metres from people who are not involved, below 120 metres, in daylight and within sight. Work outside that, such as near an airport, at night, beyond visual line of sight or with specialist payloads, is handed to a nominated chief pilot whose operator’s certificate covers it, with a crew of two or more. Mention those needs early, as approvals add lead time. Every flight is checked against airspace rules before the day.
Yes. I carry $20 million public liability, with drone operations covered, hold a construction White Card and a current Working with Children Check, and bring my own PPE. Site inductions are no problem; send them ahead and they are done before the day.
More on building and construction work.
Yes. Briefs, unreleased products, internal footage and client details stay private. If the work cannot be shown publicly, or only after a launch date, say so and it is written into the agreement.
Most standard shoots are back to you within 5 to 10 business days. Events or press work can be same day when the package allows. We agree the deadline upfront so there are no surprises.
Typically one to four weeks. Video editing takes time to get right and I will not rush it. We lock a hard deadline during the consultation and I stick to it.
Through a private download link. Photos come as high quality JPEGs at full resolution and web size. Video comes as master files plus the cuts you need for each platform, such as 16:9 for the website and YouTube and 9:16 for Reels and Stories, with captions where the brief calls for them.
Revisions are built in, usually two rounds per deliverable, with the number set out in your quote. Notes come through one nominated contact by email within 7 days of delivery, which keeps changes consistent. Agreeing the shot list and the look up front keeps notes small; a new direction or fresh footage is quoted separately.
The delivered set is graded and ready to use. Raw footage and project files are not part of a standard package, but they can be added for a fee, and it is easiest to agree that before the shoot.
Downloads stay live for three months after delivery, which is plenty of time to save them to your own drive or cloud. After that, keeping a copy is your responsibility. Content partnership clients have files hosted for the life of the plan.
Yes. Print rights are included and files are delivered at full resolution. Go professional grade if it is going on a wall or a large display, otherwise the colour accuracy will not hold up.
You can use everything we make across your business, anywhere, for as long as you like: website, social, LinkedIn, YouTube, paid ads, tenders and print, with no media buyout. Your web designer, agency or printer can work with the files for you too.
I keep the copyright, which lets me show the work and stops it being resold. If you need to own it outright, that can be quoted.
Yes. Every job runs on a personal, business or agency agreement, and that sets how the work can be used. A business agreement covers every channel your business owns, for good. An agency agreement lets you pass the work to your end client. A personal agreement covers personal use, with business use available as an upgrade.
Yes, say so at the quote stage. Ad cuts are built differently to a website film, shorter, hook first, with the full sensor rotated for 9:16, so knowing it is for ads changes how the day is shot, not only the licence. More on social media ads.
Yes. Every track is commercially licensed for your use and the licence is included in the fee. Unlicensed music is the usual reason a finished video is muted or pulled down months after it was posted.
Yes, by default. Selected work goes into the portfolio once it is public, with care for anything sensitive. If the project needs to be excluded, for confidential work or anything involving IP, that can be written into the agreement for an added fee, since it takes the job out of my own marketing.
Crops for different platforms are fine. Heavy filters or edits change the work, so if the look needs adjusting, ask me first; it is usually quicker and keeps the set consistent with your brand.
Send the brand guide, the last campaign or the films you like and the grade, framing and pace follow it. With no brand yet, I build the guide, the logo, the graphics and the motion templates first, then plan and shoot the content to fit.
Need more information? Reach out and I will help you find the right solution for the project.
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