NYONIC/Video production
Video — Brand, commercial and corporate
I spent twenty years shooting and cutting commercial work for national brands. The camera was never the expensive part — the layers above it were. Now you get the person who actually makes the thing, and a number that reflects that.
A national spot carries a producer, an account lead, a creative director, a post supervisor and an agency margin sitting on top of the two or three people who actually make the work. That structure exists because a Fortune 500 client needs someone to call at 2am. You are not that client, and you should not be paying for that structure.
The other end of the market is someone with a camera who has never had to hold a brand standard, deliver to spec, or defend a cut in a room full of people. That is cheaper, and it usually looks it.
I did the first job for twenty years and I now run it like the second one. Same discipline about frame, sound and pacing. One person, direct, with nothing between you and the work.
Twenty years — work produced for
Produced or edited as part of commercial teams. Names listed as work history, not as endorsements.
How it works
One call about what the video actually has to accomplish. I come back with an approach and a number, usually the same day.
One crew, one day where the job allows. Light and sound handled properly the first time, by the person who will also cut it.
Colour, mix and every aspect ratio you need. Revisions built into the schedule rather than bolted on after.
Cover image is an illustration produced in-studio, not a client deliverable. My commercial reel is available on request.
Delivered
Pricing
Three things move a video budget more than anything else. Tell me where you sit on each and you will have a real number, usually the same day.
A single-location testimonial and a three-day multi-city shoot are different jobs. Shoot days are almost always the largest line on a quote.
A talking-head for a careers page and a :30 running in front of paid media need different lighting, different post and different amounts of my attention.
Internal use, organic social, and paid media with a two-year term carry different music licensing and different rights. It moves the number honestly, not arbitrarily.
No published rate card, because a rate card either overcharges the small job or underprices the big one. Email me the scope or call and you will have a number, not a meeting.
Questions
It depends on shoot days, finish level and where it runs — those three move the number more than everything else combined. Tell me what the video has to do and I will give you a real number, usually the same day. You do not have to sit through a discovery call to get a range out of me.
Both. I spent twenty years on the agency side of this, so I know how to take a board, hit a spec and hand back files that drop straight into someone else's pipeline. A good amount of my work is white-label and always has been.
Yes. Rochester is home base and most work lands within a couple of hours of it, but travel is just a line on the quote rather than a reason to say no.
You own the finished work outright. Raw footage and project files are yours too if you want them — say so up front and I will build the handoff into delivery rather than charging you for it later.
Where it helps, and never where it lies. It is genuinely good at cleanup, rotoscoping, upscaling and building background elements, and it saves you money on all of those. It is not shooting your interview or directing your talent. Anything AI-generated inside a deliverable gets disclosed to you.
One testimonial, one product demo, one event. There is no minimum project size. There is effectively a minimum day, because half a day of setup costs about what a full one does.
One call, one honest number. If the job is not a fit for me, I will say so and point you at someone it is.
(585) 524-8976Also from NYONIC
