From brief to delivery — contracts, call sheets, data management, and on-set communication
Focus: The client relationship — discovery, brief, and scope management.
The discovery sessionA discovery session is a structured conversation with the client before any creative work begins. Goal: understand what they actually want (which is often different from what they initially say they want), what the deliverable will be used for, what success looks like to them, what their brand identity and tone requirements are, and what their timeline and budget are. Ask: Who is the audience? Where will this be distributed? What do you want viewers to do after watching? What existing creative work do you like? What do you not like? Document everything in writing and send a summary to the client for confirmation.
The creative brief — the contract before the contractThe creative brief is a document that establishes: the project objectives, the target audience, the deliverable specifications (duration, format, aspect ratio, delivery formats), the creative direction (tone, references, restrictions), the timeline (shoot date, first cut, final delivery), and the budget. Both you and the client sign the brief before any work begins. The brief protects you from scope creep — if the client later asks for something not in the brief, you have a document that clearly defines what was agreed.
Scope creep — what it is and how to prevent itScope creep is the gradual expansion of a project beyond its original agreed scope — without corresponding increases in budget or timeline. It is the most common source of conflict in freelance creative work. Symptoms: 'Can you just add one more thing?' or 'Actually, we need this in three more formats' or 'Can we have another revision round?'. Prevention: the brief is the scope document. Anything outside the brief is a change order — a new written agreement with its own cost and timeline. Be kind but firm: 'That's outside the scope of our brief, but I can send you a quote for the additional work.'
Australian creative contracts — essential clausesFor any commercial creative work in Australia, you need a written contract that includes: scope of work, payment schedule (typically 50% upfront, 50% on delivery for projects over $1,000), intellectual property ownership (who owns the footage — ideally you license it to the client rather than assigning it outright), revision policy (how many revision rounds are included, what happens if they want more), late payment terms (interest at x% per week after 14 days), and cancellation terms (what happens to the deposit if the project is cancelled). The Australian Institute of Professional Photography (AIPP) and the Australian Cinematographers Society (ACS) both offer template contracts for members.
Payment and invoicing in AustraliaIssue invoices promptly — on project completion or at agreed milestone points. In Australia, if you are registered for GST (required if annual turnover exceeds $75,000), add 10% GST to all invoices and use a tax invoice format. Include: your ABN, the client's full legal name, invoice date, payment due date, itemised services, and payment details. Use accounting software (Xero or QuickBooks are standard for Australian creatives) from your first paid project — catching up on historical invoicing is painful.
Drill 1
Draft a creative brief
Create a fictional client scenario: a small Adelaide restaurant wants a 60-second brand video for their website and Instagram. Write a complete creative brief for this project: objectives, target audience, deliverable specs (duration, format, delivery formats), creative direction with 3 reference videos you would propose, timeline with specific dates, and budget. Make all details specific — not vague placeholders.
Drill 2
Scope creep exercise
Take your fictional brief from Drill 1. Write three 'scope creep' requests the client might make after production begins: (1) one that is within the spirit of the brief (arguable), (2) one that is clearly outside the scope, and (3) one that is a significant addition. Write your response to each — how do you decline gracefully, what do you offer instead, and when do you write a change order?
Drill 3
Contract clause review
Download a sample creative services contract from the AIPP or ACS website (both offer templates). Read through it and identify: the scope of work clause, the revision policy, the IP ownership clause, and the late payment terms. Write a note on any clause you would modify for your specific business model and why.
Drill 4
Invoice creation
Using any invoicing tool (Wave, Xero, or even a PDF template), create a professional invoice for the fictional restaurant project: $3,500 + GST for production and $1,500 + GST for a revision round. Format it correctly as an Australian tax invoice with all required fields. This exercise ensures you know how to invoice correctly before your first real payment is due.
Week 1 Assignment
"Complete client onboarding package"
For your fictional Adelaide restaurant client, produce a complete onboarding package: (1) a discovery session questionnaire (10 questions you would ask), (2) a complete signed-ready creative brief, (3) a one-page project timeline with specific dates, and (4) a professional invoice for the agreed amount including GST.
Discovery questionnaire covers objectives, audience, tone, references, and restrictions
Creative brief is complete and would protect you from scope creep
Timeline has specific dates and milestones — not vague 'Week 1, Week 2' placeholders
Invoice is formatted as a correct Australian tax invoice with ABN and GST
Figma
Focus: Pre-production — shot lists, call sheets, and preparing for a professional shoot day.
The shot list for commercial productionA commercial shot list is more detailed than a personal project shot list. It includes: shot number, description, shot size, camera movement, lens, lighting notes, audio requirements, talent involved, location, and approximate duration. It is shared with everyone on the crew — even if you are a crew of one, writing it forces clarity of thought. For a 60-second brand film, a shot list typically covers 20–40 distinct shots, many of which are short (2–5 seconds) B-roll or product detail shots.
The call sheet — managing a shoot day professionallyA call sheet is a document distributed to all crew and talent before every shoot day. It contains: the shoot date, the production company name and producer contact, the location address and parking details, the call time (when everyone arrives) and wrap time (expected finish), the schedule (scene by scene, with allocated time for each), the equipment list, the catering arrangements, and any location-specific information (dress code, access restrictions). Even as a solo operator, creating a call sheet for client-facing shoots demonstrates professionalism and manages client expectations.
Location scouting and agreementsFor any shoot at a private location (a business, a home, a venue), you need a location agreement — a document the location owner signs granting you permission to film, specifying any restrictions, and confirming what access you have. For public locations in Adelaide: most streets and public spaces do not require a permit for small-scale production (handheld camera, small crew). Anything that disrupts traffic, involves a tripod in a public space, or has more than 5 crew members typically requires a permit from the City of Adelaide or relevant council. Check the specific location's requirements — they vary significantly.
Equipment preparation — the pre-shoot checklistThe night before every commercial shoot: charge all batteries (cameras, drone, mic transmitters, monitor, lights), format all memory cards, check all lenses for dust, check the gimbal balance, test the Rode NTG and DJI Mic 2 with fresh batteries, check the ND filter set is complete and in order, pack the Neewer F700 with HDMI cable, and confirm all cases are loaded and accounted for. Create a printed equipment checklist and tick each item. A forgotten battery or memory card on a commercial shoot is not a minor inconvenience — it is a professional failure.
Talent direction — getting the performance you needDirecting non-actors (business owners, employees, customers) for commercial video requires a specific skill set. Strategies: give them concrete actions, not abstract emotional directions ('can you look at the camera and tell me what you love about this place' is better than 'be enthusiastic'). Start with warm-up questions before rolling. Let them speak for 30–60 seconds without interrupting. Ask the same question multiple times in different ways — the later takes are almost always better. Never say 'that was great, let's do it again' — it signals that what they did wasn't actually good enough.
Drill 1
Shot list for the restaurant brief
Using your fictional restaurant brief from Week 1, write a complete shot list. Include: hero shots of the food, interior atmosphere shots, exterior establishing shots, team/chef footage, and at least 5 detail/insert shots. For each shot: description, shot size, lens, camera movement, and any lighting or audio notes. The list should have at least 25 distinct shots.
Drill 2
Call sheet creation
Create a complete call sheet for the fictional restaurant shoot: a one-day shoot at a restaurant in the Adelaide CBD. Include: call time (7am for golden hour exterior, 8am for interior), location details including parking, the complete schedule broken into 30-minute blocks, the equipment list (everything you would bring), and your contact details. The call sheet should be formatted well enough to share with a client.
Drill 3
Equipment pre-shoot checklist
Create your definitive personal pre-shoot equipment checklist — a printed or digital document you would run through the night before every commercial shoot. Include every item of equipment you own that is relevant to a typical commercial shoot. The list should be detailed enough that you could hand it to someone who has never met you and they could fully pack your kit correctly.
Drill 4
Talent direction practice
Set up your camera and film a friend or family member for 5 minutes without any direction. Then direct them for 5 minutes using the techniques in the theory. Compare the two sets of footage: in the directed version, the subject should be more relaxed, more specific in their actions, and more engaging on camera. Identify which specific direction techniques made the most noticeable difference.
Week 2 Assignment
"Complete pre-production package"
For your fictional restaurant project, deliver a complete pre-production package: shot list (minimum 25 shots), call sheet (complete and formatted), equipment checklist (your definitive version), and a one-page talent direction brief (how you would prepare and direct the restaurant owner for their interview segments).
Shot list has minimum 25 shots with full technical details per shot
Call sheet is formatted professionally and contains all required fields
Equipment checklist is comprehensive and could be used as a packing reference
Talent direction brief contains specific, actionable direction strategies
Figma
Focus: The shoot day — professional on-set communication, data management, and managing clients on set.
Data management — the most professional disciplineOn any commercial shoot, every card that is full should be offloaded immediately — not at the end of the day. The workflow: card is full → copy to primary SSD → verify copy (Resolve or Terminal md5 check) → format card → back into camera. Never shoot from a card that has not been verified as correctly offloaded. Two copies of the data must exist at all times before any card is formatted. On an important shoot, bring a portable dual-drive backup solution (OWC Envoy Pro EX, or a laptop and two drives). Loss of client footage is the most serious professional failure in production.
On-set client communicationClients who attend their own shoots require active management. Strategies: set expectations before the shoot (the first setup always takes longer than expected — tell them this in advance so they are not alarmed). Give clients a specific role: invite them to review key setups on the Neewer F700 monitor after each setup is lit and framed — this involves them in the process and prevents them from feeling like spectators. Never tell a client a shot 'didn't work' — say 'I'd like to do this one more time to give us options in the edit.' Keep their confidence high throughout the day.
Handling unexpected problems on setEquipment failures happen on professional sets. The professional's response: calm, systematic, and solution-focused. If a camera fails: switch to the backup camera immediately without drama. If a microphone fails: fall back to the backup microphone (which is why you always run two mic sources simultaneously). If weather changes unexpectedly: adapt the shot list to what the conditions offer, not what you planned. The ability to solve problems calmly and quickly without communicating stress to the client is one of the most valued skills in the industry.
The end of shoot checklistBefore leaving any shoot location: all cards are offloaded and verified, all equipment is accounted for (use your pre-shoot checklist in reverse), the location is returned to the condition you found it (especially important for borrowed or permitted locations), the client is briefed on what was captured and what to expect in terms of next steps and timeline, and any outstanding questions from the client are noted for follow-up. A professional departure is as important as a professional arrival.
Post-shoot client communication — setting expectations for deliveryImmediately after the shoot (same day or next morning), send the client a brief email confirming: what was captured, the agreed delivery timeline, the next milestone (when they will see the first cut), and any outstanding items. This communication prevents the client from feeling in the dark and demonstrates professionalism. If the delivery timeline needs to change, communicate it as early as possible — never on the day delivery was promised.
Drill 1
Data management workflow — timed
Simulate a shoot by filling one camera card with footage (20 minutes of shooting). Practice the complete data management workflow: copy to primary SSD, verify using Resolve's media management or Terminal (md5), format the card, verify the card is blank. Time the complete process. For a real shoot, this workflow should be faster than the time it takes to fill the next card.
Drill 2
On-set client management roleplay
Ask a friend or family member to play the role of a client attending their shoot. Brief them to: ask questions about why shots are being set up in a particular way, express concern when a setup takes longer than expected, and ask to see footage on the camera screen after each shot. Practice managing all three situations using the techniques from the theory. Record your own voice and body language during this exercise and review it critically.
Drill 3
Equipment failure recovery drill
Set up your complete kit for a shoot. Simulate three equipment failures in sequence: (1) your primary camera battery dies unexpectedly, (2) the DJI Mic 2 transmitter connection drops, (3) the Neewer F700 monitor loses signal. For each: practise the fastest possible recovery — switching to backup equipment, changing batteries, reconnecting the signal — while maintaining a calm demeanour. Time each recovery. Target: under 60 seconds per failure recovery.
Drill 4
Post-shoot client email template
Write a template for your post-shoot client communication email: the email you would send within 24 hours of every commercial shoot. Include variable fields [brackets] for project-specific details. The template should cover: what was captured, next steps, delivery timeline, and a professional close. This template should be polished enough to use in a real client relationship.
Week 3 Assignment
"Shoot day simulation"
Execute a simulated commercial shoot day: treat a personal project (a friend's business, a community organisation, a local venue) as if it were a paying client. Apply the complete professional workflow: discovery session, creative brief, shot list, call sheet, on-set data management (offload every card immediately), and post-shoot client email. Document each stage with screenshots or notes.
All six professional workflow stages were executed
Data management workflow was applied — no card was formatted before verification
Post-shoot email was sent within 24 hours of the shoot
Post-shoot email contains all required information
Written reflection on what felt professional and what needs improvement
Sony FX30DJI RS5Neewer RGB660 Pro II ×2Neewer F700 monitorRode NTGDJI Mic 2
Focus: Delivery and client management — from first cut to final delivery, handling feedback professionally.
The first cut — what to deliver and what not toA first cut should be complete: it should have the correct structure, correct pacing, and correct audio. It should not have: the final colour grade (you do not want to invest grading time in a cut that will be restructured), final music (unless you are confident in the edit structure), or VFX or graphics (same reason). Deliver the first cut via a private Vimeo link or Frame.io review link — not as a file attachment. Include a brief note: what the client is looking at, what stage it is at, and specifically what feedback is most useful at this stage (structure and pacing — not colour or music).
Handling client feedback — the professional approachClient feedback on a first cut often includes: requests to use a different take of a specific line, requests to shorten or lengthen specific sections, changes to music choice, and occasionally structural requests that would require significant re-editing. Separate feedback into three categories: (1) factual corrections (wrong logo, wrong spelling, wrong product shot — always implement these without discussion), (2) preference changes (different music, different shot order — implement these professionally and note any concerns), (3) structural requests that are outside the scope of the agreed revision rounds — these trigger a change order conversation.
Delivering the final cut — technical specificationsBefore delivering the final cut to a client: confirm the delivery specifications (file format, codec, resolution, frame rate, audio loudness, aspect ratio). Typical Australian client delivery specs: H.264 or H.265 in a .mp4 container for digital use, MOV/ProRes 422 for broadcast. Audio: -14 LUFS integrated / -1 TP for digital delivery. Colour space: Rec.709 for standard delivery, HLG for HDR. Always deliver a low-res preview (H.264, compressed) alongside the high-quality master — clients often share the preview link internally before approving the final download.
Project archiving — your professional responsibilityAfter every delivered project: archive the entire project to cold storage — the Resolve project file (.dra archive), all camera originals (in their original folder structure), all audio originals, and the final delivered files. Keep this archive for a minimum of 7 years (the ATO requirement for business records in Australia). Do not rely solely on external hard drives — cold storage should include at minimum one offsite or cloud copy. Losing client footage after delivery is embarrassing; losing it before delivery is catastrophic.
Building a client referral networkThe most powerful source of new client work is referrals from satisfied existing clients. After every successfully delivered project: ask the client directly (by email or in person) if they know anyone who might benefit from your services. Offer a referral acknowledgment (a discount on their next project if their referral converts to a paid job). Stay in touch with past clients — a brief email every 3–6 months, sharing a relevant piece of work you have done, keeps you in their network without being intrusive.
Drill 1
First cut feedback management
Take any completed short film from earlier modules. Write the email you would send to a client when delivering the first cut: what to look at, what stage it is at, and the three specific feedback questions you want them to answer (not 'what do you think?' — specific questions about structure, pacing, and key messaging).
Drill 2
Feedback categorisation exercise
Invent a fictional set of client feedback responses to your fictional restaurant first cut. Write 10 pieces of client feedback, then categorise each as: (1) factual correction, (2) preference change within scope, (3) structural change requiring a revision round, or (4) outside scope requiring a change order. Write your response to each category type.
Drill 3
Delivery specification checklist
Create a definitive delivery specification checklist for your three most common delivery formats: (1) YouTube/social media digital delivery, (2) broadcast/commercial TV delivery, (3) client master file. For each format: codec, container, resolution, frame rate, audio loudness target, colour space, and maximum file size. Format this as a one-page reference document you can share with clients.
Drill 4
Project archiving workflow — timed
Take a completed module project. Archive the complete project using your standard workflow: Resolve .dra project archive, camera originals, audio, and final delivered files. Use a consistent folder naming convention. Time the complete archiving process. Establish the maximum project size that can be archived to your available cold storage — and plan accordingly for future commercial project data volumes.
Week 4 Assignment
"Complete client project delivery"
Deliver a fictional commercial project from brief to final delivery. Produce: (1) a professional Vimeo review link with a first cut and a covering email, (2) a feedback management response document (categorising and responding to 10 pieces of fictional client feedback), (3) a final delivery package with all required formats and a delivery specification note, and (4) a project archive using your standard archiving convention.
First cut is delivered via a professional review link with covering email
10 pieces of fictional feedback are correctly categorised and responded to
Final delivery package contains at minimum two formats (social + master)
Project archive is complete and correctly named
The entire workflow demonstrates professional-level client communication
DaVinci ResolveM4 Mac Studio
Not getting a signed brief before starting work
Starting production without a signed creative brief means any subsequent disagreement about scope, deliverables, or creative direction has no documentary resolution. The client's memory of what was agreed will differ from yours — and the client will always believe they are right.
Fix: Never begin any paid work without a signed creative brief. Send the brief to the client as a PDF, request a signature (DocuSign or a signed-and-scanned return), and keep the signed document on file for the life of the project.
Formatting cards before verifying the backup
A card formatted before the backup is verified is an irreversible data loss event. If the backup drive fails or was never actually written to, the footage is gone. On a commercial shoot this is a career-threatening failure.
Fix: Use Resolve's media management or a dedicated verification tool (ShotPut Pro is the industry standard for commercial production) that verifies checksums before confirming a successful backup. Never format a card until the verification tool confirms the copy is complete and accurate.
Saying yes to scope creep out of politeness
Agreeing to additional work outside the brief without a corresponding increase in fee trains clients to expect unlimited revisions and additions. It devalues your work and creates resentment that damages the client relationship.
Fix: Be clear, polite, and firm: 'That's a great idea and it's outside the scope of what we agreed, but I can send you a quote for the additional work — it would typically take about [X hours] so the additional cost would be around $[Y].' Most reasonable clients accept this gracefully.
Run two audio sources simultaneously on every commercial shoot
On any shoot where the audio is important — which is every shoot where a person speaks — run both the Rode NTG (on boom or hotshoe) and the DJI Mic 2 lapel simultaneously. If one fails or picks up an unexpected noise, the other is your safety net. Two audio sources cost nothing extra once both are set up and protect against the single-point failure that no amount of post-production skill can fix.
Rode VideoMic NTG · DJI Mic 2
Use the Neewer F700 as a client monitor
On commercial shoots with the client present, position the Neewer F700 where the client can see the live monitored image. They see what the camera sees — with your monitoring LUT applied, so it looks like the finished grade rather than flat LOG footage. This involves the client in the creative process, reduces anxiety about what the footage looks like, and builds confidence in your work. It is far better than them peering over your shoulder at the camera's small LCD.
Neewer F700 7" monitor
Charge 50% upfront — every project, every time
A 50% upfront deposit protects you from clients who disappear after you have invested significant time in their project. It is standard practice in the Australian creative industry and any legitimate client will accept it. If a client refuses to pay a deposit, that refusal tells you something important about how they will behave when final payment is due.