A film is quoted as a day and delivered over a month. The shoot is one line and the client thinks it is the whole job, while the treatment, the grade, the sound pass, the music licence and two rounds of notes are the part that actually fills the calendar.
These go in your price book once, with your own prices against them. After that a line is one tap: the item, the description, the unit and the price fill themselves, and the totals resolve underneath.
| Line | Unit |
|---|---|
| Treatment and scripting | job |
| Shoot day, crew of two | days |
| Camera and lighting hire | days |
| Edit, first cut | job |
| Revision round, beyond the agreed two | each |
| Colour and sound | job |
| Music licence | each |
Prices are yours. Invoice Koi ships a handful of round placeholder lines to start from and never fills your book with figures you did not set.
Pre-production, the shoot and post each carry their own heading and their own figure, so a client deciding what to cut can see what each part of the film costs.
Photograph the hire invoice and the licence and they are read into expenses with their tax. Re-bill them and they land at the figure you actually paid.
A film quoted in March converts with its lines, its client and your terms intact, so the document at delivery matches the one that was signed off.
Send it as an estimate with the stages grouped, then invoice the stages as they complete or all of them on one document at the end. The reports total them the same way.
Yes. It is its own line with its own unit, so a hire day and a shoot day are two figures rather than one blended rate.
Keep the extra round in the price book at its own price and add it when it is asked for. It reads as work that happened rather than as a price that changed.
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