The BiG Page of Videography Questions Answered

This depends on what you want filmed, when and where your event is, and how you’d like it covered. A simple hire of a single videographer can cost £690 for 7 hours of coverage. Three videographers capturing podcasts, interviews, sessions and more with editing could cost around £2,500. Many companies find it best value to capture as much content as possible while everyone is together.

It depends! One videographer with a gimbal can capture great moments for a social media reel. At the other end of the spectrum, the Eurovision Song Contest uses 20+ cameras per act to deliver a lively, multi-angle experience. At Hire a Videographer, our rule of thumb is:

• For a full show filmed professionally: minimum 3 operators / 5 cameras.
• For highlights: 2 roaming operators works well.
  Don’t forget extras like vox pops, b-roll of arrivals, and behind-the-scenes. Make the most of every event you’re already running.

Great question. The biggest factor is experience first with their equipment, then in a range of environments, and finally with the type of event you’re running.
Ask for:

1. Experience/Kit level – what do they use and know inside out?
2. Examples – recent work for style, plus a similar project for capability (even if it’s older).
   Also agree cost, turnaround time, deliverables, and any extra fees in writing before booking.

An event highlight can sometimes be edited same day by a separate editor for end-of-event playback. For edited sessions or a highlight including vox pops and interviews, our typical turnaround at Hire a Videographer is 5–10 days. Requested tweaks are often completed within 48 hours, if they’re not too complex.

Rush edits are possible (usually 24–48 hours) when the brief is locked note that rush fees and extra logistics (file transfers, additional editors) may apply.

At Hire a Videographer, raw footage is what we do. We understand that sometimes you need footage captured even if the final use isn’t decided yet. We can attend for a set time and hand over the files for your team to edit.

Many production houses don’t hand over raw footage as standard. If they do, they’ll often charge extra due to the need to transcode, organise, or grade footage into a usable format outside a broadcast workflow.

As soon as you can, especially during busy event season. The key is to book before the day. We often secure videographers for the following week—or even the next day—and we’re very good at short-notice availability.

Booking early improves results: the filming brief can be refined, and we can prep the right kit. Batteries, gimbals, laptops, microphones, drones, lights everything needs charging and checking, and cameras must be set up correctly for your deliverables.

If your venue requires insurance documents, risk assessments, or PAT certificates, these take time to arrange. We can sometimes sort them on the morning, but it’s far from ideal.

This is a crucial (and often overlooked) step.

• Prep people on camera: let seminar speakers know they’re recorded; give podcast guests an idea of the questions.
• Logistics help: a parking space if arriving by car, lunch if on site over mealtime, and a secure space for bags/unused kit.
• Clear plan: share what needs filming and when, so we can capture everything. Build in setup time be realistic about what can be recorded in a day.

The right tool for the job, used by someone who knows it inside out. Experience comes first, then equipment level. A mis-set Sony FX9 can look worse than an iPhone 17 Pro Max with a light in Apple Log setup matters.

A pro should use a camera they can configure for different environments (no overheating, good low-light, clean audio inputs) and have solutions for lighting and clean sound.

At Hire a Videographer, our minimum is a Netflix-approved camera (10-bit 4K, ≥240 Mbps, and proper colour profiles), plus gimbal, tripod, stable handheld settings, modern lapel mics, a good on-camera mic, an off-camera recorder, and LED panel lighting for interviews.

It’s the reason we created Hire a Videographer. We already had a strong network of freelancers and saw companies overspending on agencies for simple jobs. We connect the two.

New videographers go through a strict vetting process and are trained to work with creativity and professionalism. We track which projects each person excels at, so we can recommend the right operator for the right job.

Social content benefits from planning. Shooting to a clear idea and storyboard often works best—hero stories should be authentic but formatted to engage and convert. We recommend mapping your content and sharing it with the videographer before the day.

At Hire a Videographer, we have in-house social specialists who can develop ideas with you as part of a larger, ongoing project.

It depends on the scale of your event and what you want delivered. For simple coverage (a short announcement, a fireside chat, a few vox pops), a single operator can work. If you need a dynamic highlight film, recordings of multiple speakers, or audience reactions, a multi-camera setup is safer and more engaging. As a rule of thumb:

• Small interview / announcement: 1 operator, 1–2 cameras.
• Panel / breakout: 1–2 operators, 2–3 cameras (wide + close-ups).
• Conference main stage / concert: 2–4 operators, 3–6 cameras for angles, cutaways and redundancy.
  Multiple cameras protect you against missed moments and make the final edit feel polished.

Match length to audience and channel:

• Social teaser / reels: 15–45 seconds (fast cuts, captions, strong opening).
• Event recap for web: 60–120 seconds (story arc: arrivals → moments → reactions → CTA).
• Internal comms / recap with interviews: 2–3 minutes with clear chaptering.
  Full session recordings (talks, panels, performances) are usually delivered in full with clean audio and simple titling. The key is deciding your primary use first, then shooting for that outcome.