How this one is meant to be worked through, in the author's own words:

1. Read Chapters 5 to 8 first, in order. They are the four rules and every later chapter refers back to them.
2. Then read Chapter 20 before your next intake, because the footage decides more about a video's profitability than any decision made afterwards.
3. ASK FOR THE FOOTAGE TOTAL IN HOURS AND MINUTES before quoting - not the file count, not the folder size, and not an adjective. 'Not much' is not a number and the creator has not measured it.
4. MEASURE IT YOURSELF at intake, including the b-roll folder. The check most often finds a total substantially above what was described.
5. NEVER QUOTE AGAINST A DESCRIPTION OF FOOTAGE, however confident the creator. 'Most of it is rubbish, so it should be quick' is precisely backwards - unusable material costs exactly as much to watch as usable material.
6. PRICE ON A FOOTAGE BAND, stated as a condition of the base price rather than a penalty, with a stated rate per additional hour, applied automatically. A band you argue for each time is one you waive on a Friday.
7. REQUIRE THREE REFERENCE VIDEOS before the first edit, always. Without them you are guessing at somebody's persona and the guess is corrected in a revision round you paid for.
8. EXTRACT THE REFERENCE INTO A WRITTEN BRIEF: cut density and speed of speech, how much room is left, the characteristic opening, recurring segments, tolerance for digression, graphics and caption style, and how much of their habitual manner survives. None of it is in any brief you will receive, because the creator does not know they are doing it.

Written to be used rather than skimmed. Every financial figure is left blank on purpose, and anything touching law, tax, insurance or data protection is written as questions for a qualified professional rather than answers.

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