Supplier specifications
Event videography brief
You want a highlights film and a few usable clips after the event, and you want to approve it before anyone sees it.
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The short answer
An event videography brief states which films you want, how long, for whom, what footage and interviews are needed, who approves each stage, which music and graphics may be used, and what files you receive.
Video is edited after the event, so approvals and rights matter more than they do for photography. Set the review rounds, the owner of each decision and the licensing rules in the brief, not in the middle of the edit.
Decide the films before the filming
Highlights film, speaker clips, testimonial interviews, a full recording of the plenary and short social cuts are different jobs with different costs. List the films you want and the audience for each.
A recording of every session for later viewing is separate from a highlights film. If you also stream sessions live, see the livestream production brief and agree which supplier handles which.
Decision sequence
- List deliverables: each film with approximate length, purpose, audience and where it will be shown.
- Plan coverage from the programme: sessions to record, interview subjects, and b-roll such as arrivals, networking and venue.
- Decide the audio approach: feed from the audiovisual supplier, separate microphones or both, and who coordinates this with the audiovisual brief.
- Set approval: who gives creative comments, who gives the final sign-off, how many rounds of changes are included and what a further round costs.
- Agree music and graphics: licensed music, brand elements and the party responsible for clearing licences, with evidence provided.
- Handle consent: notices to attendees, interview releases for people featured and a list of those who must not appear. Ask your legal or data protection contact for the wording.
- Specify files: formats, resolution, captions, raw footage and project file handover, and the delivery date for each film.
- Agree usage rights and ownership in writing, and whether the videographer may show the film in a portfolio.
What the brief covers
| Area | Organiser states | Videographer proposes and confirms |
|---|---|---|
| Films and audiences | Titles, lengths, purposes, where shown | Approach and style for each |
| Coverage and interviews | Sessions, interviewees, locations, hours | Crew size, equipment approach, schedule for interviews |
| Audio | Feed requirements, quiet interview space | Method, backup recording and any link to the audiovisual supplier |
| Approvals | Reviewers, final approver, rounds included | Review process, platform for comments, cost of extra rounds |
| Music, graphics and licences | Brand elements, restrictions | Music source and licence evidence, for your legal contact to review |
| Consent and releases | Notices, release forms, no-film list | How releases are collected; wording reviewed by your own legal contact |
| Deliverables and files | Formats, captions, raw footage, project files | What is included, naming and delivery method |
| Timeline | First cut, final, and social clips dates | Its schedule and conditions |
| Usage rights | Intended uses and period | Licence terms, ownership and portfolio use in writing |
| Backup and venue | Passes, restricted areas, contact | Spare equipment and replacement plan |
Acceptance check on delivery
- Each film matches the agreed length, purpose and technical format.
- Speaker names, titles and any on-screen text are spelt correctly and checked by the programme owner.
- Sound is clear throughout, with no unlicensed music.
- Interviewees have signed releases and no one on the no-film list appears.
- Final files, captions and agreed project or raw files are received and open correctly.
Common pitfalls
- No named approver, so feedback arrives from six people and contradicts itself.
- Unlimited revisions assumed, then a quote that charges for every round.
- Using music from a library without checking the licence covers online publication.
- Interviews recorded in a noisy open space because no quiet room was booked.
- No agreement on raw footage, then no archive of the event.
Worked example · Fictional example
A videography brief for a two-day conference
Fictional organisation and figures, for illustration only.
A fictional logistics association wants a highlights film of about three minutes, six short speaker clips and four delegate interviews. Its first brief to videographers said 'cover the event and produce a highlights video'.
The revised brief lists the three outputs, sets two rounds of changes, names the communications manager as final approver and asks the videographer to state licence evidence for any music. A quiet room is booked for interviews and attendees sign release forms. A first cut is due ten working days after the event and the final version five days after approval. Quotes now differ clearly on rounds, interviews and file handover, which is what the committee needed to see.
Use this yourself
Event videography brief template
Copy this into a document and send it with the programme, venue access details and brand guidelines.
- Event, dates, venue and organiser contact on the day:
- Films wanted: title, approximate length, purpose, audience, where shown:
- Coverage: sessions to record, interviewees and locations, b-roll moments, hours:
- Audio approach and link to the audiovisual supplier:
- Review: reviewers, final approver, rounds of changes included, cost of extra rounds:
- Music, graphics and brand elements: restrictions; please state licence evidence for all music:
- Consent: attendee notices, interview releases, people not to be filmed (wording reviewed by our legal or data protection contact):
- Deliverables: formats, resolution, captions, raw footage and project files:
- Timeline: first cut date, final date, social clips date:
- Usage rights: our intended uses and period; please state ownership, licence and portfolio terms in writing:
- Venue rules, access, restricted areas and arrival time:
- Backup arrangement if the videographer is unavailable on the day:
- Price to show: itemised, with excluded items listed:
- Proposal deadline, question deadline and decision date:
Handle it in-house, or bring in help?
Your team can usually handle this when
- One short film or a few speaker clips, with one clear approver.
- Your communications team has done similar projects and holds music licences.
- No interviews or consent forms are needed.
Outside planning help earns its fee when
- Several films, interviews, remote speakers or sponsor deliverables need coordinated planning.
- Approval is spread across committee, communications and sponsors, and rounds must be controlled.
- Licensing, consent and ownership questions need to be settled before filming.
Want the video brief joined up with the programme?
An Event Blueprint can link the videography brief to the programme, audiovisual brief and sponsor commitments, with review owners and approval rounds set out. Licensing, consent wording and ownership decisions stay with your own advisers.
Questions organisers ask
How many revision rounds should I ask for?
Two is a common starting point, but agree it with the videographer and write it in. Name one final approver so rounds do not multiply.
Do I need the raw footage?
If you want an archive or plan future edits, ask for it and state it in the brief, since it may affect the price and storage. Agree who keeps it and for how long.
Who clears the music?
Agree this in writing. Ask the videographer to state the music source and licence evidence, and have your legal contact confirm it covers where you will publish.
How is this different from a livestream?
A livestream is delivered in real time and a film is edited afterwards. If you need both, see the livestream production brief and agree how footage is shared.
Related resources
Content record: Draft. Written from the cited sources and checked by automated rules; not yet independently reviewed.