Should You Give Clients Your Raw Video Files?

Should they give clients your raw video files? Videographers post this question in groups often prompting an online comment battle between two distinct camps: " No way, never" and "Yes, it's theirs anyways." Let's break this down and get you the answer you need.
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[@BlackfishFilms]

Great video. Finally someone who does not see a topic in black and white and get all emotional about it 🙏

[@webben2166]

As a client I would always want the raw footage, especially for such important moments like a wedding. That way I can hire a a cutter in 10 years, who makes a new master cut or includes old scenes in a new film. You could of cause make a contract with the creator, that the has to archive the footage for the next 70 years, but it is a hassle and a high risk, especially if you moved to an other country and now you somehow have to connect all the film studios, that they can collaborate and produce a new film together behind you back. The other point is remastering the footage in 20-30 years, if we have new standards and technologies. Much easier with raw footage. Maybe we use different color spaces in the future. Then REC.709 is just a bad choice. An other scenario: I contract an other producer in 25 years, who should create a foto album for me about my marriage. How can he match the style of all photos, if he does not have the raw files? The end result would be much worse. A compromise probably could be an intermediate product, where I get edited footage with a high bitrate, bit depth and custom conversion LUTs for other color spaces. It is a pity, that nobody talks about the points mentioned above, wich are, in my view, very valid and fair points.

[@curtiswindover4564]

Corporate work is often done without an agency and without a contract. When working according to some 'common understanding' of what videographers do, rather than a contract, opinions will differ. But this is most sensible to me: If the videographer is asked to make a 3 minute video, then that video is the product being exchanged. Especially if the rates/prices agreed upon are based on labour hours or scope/length of the final video. The fact that there even exists extra footage, beyond what made the final cut, is a choice made by the videographer in order to elevate his/her probability of producing a great product for their client. They weren't required to shoot anything beyond what's in the final video. If the client wants that extra footage they have to ask for it. And they'll often be astounded to learn they are not entitled to it. But they're not because it's not the product they purchased. Every business transaction is different- some will include it free if you ask for it, and some will charge. But you can't just assume it's always free. The price of a burger is always listed separately from the price of a combo. One has additional products being sold. After some drama in my own work, I now make it clear in the early discussions that raw footage is not included.

[@reellyfeproductions]

Love the video. It "really does depend". I shoot a ton of weddings and on occasion the couple does ask for the raw footage. Majority of the time my wedding clients do not realize that since I am using pro video equipment and shooting with multiple cameras, the file sizes are going to be significantly larger than what they are accustomed to. Once I explain this, and inform them they can expect anywhere from 100 to 200 gigs of video files. They usually "change their tune". But if they still want the raw footage then I charge them a fee. It's total opposite with some of my corporate clients. They usually make it known up front, both verbally and contractually, that basically anything I shoot belongs to them and they want both the finished video and the raw footage. Especially if the footage contains video of equipment or other items not meant for the general public. Some even have me sign an NDA so at that point the footage does me no good marketing wise, and just takes up space on my hard drive. So to me there is no "hard and fast" rule for this. It really does depend on the client.

[@PullMyFocus]

Well said, thank you.

[@pictureit360]

Cheers for the info!

[@emyvideography9414]

On your note with the restaurant analogy- I agree the "limited factor" does make it flawed. Here's what I use: A Baker Making a Wedding Cake Asking for raw footage is like asking a baker for the extra frosting, batter, and decorations.

[@marcushampton]

Very well done! 'It really should depend'! I'm a musician performing. Double-edged or a triple-edged sword. You are filming someone else's creative work, and performing someone else's music. At the same time creating a video of that work (s) right? - Marcus

[@StudioGalvan]

I don't shoot RAW so I'm immune ... 😅 🤓 Of course you mean the Out Of Camera - Original/Unedited Files. The Analogies/Analysis you have described make sense to me. I would add this though. If the Bride wants to know what to do with the files, this gives me an opportunity to sell them Classes on how to use the footage etc.

[@websitesthatneedanem]

👍👍👍

[@MinistereMR]

What if you've never edited the actual video, just shot it, but the client says they've run out of money and want to edit themselves?

[@PullMyFocus]

What does your contact with the client say?

[@manuelr8036]

​@@PullMyFocus no contract. I guess I'd simply do what the contract says if that was the case. Thanks.

[@Bas20hz]

So if Jane and John Doe are videographers and do know what to do with log footage?

[@PullMyFocus]

How often is that going to happen? And if they are they'll probably hire the videographer fiends they work with.

[@cambodianz]

When contracted by a client to shoot on your camera, onto your media recoding devices, to be stored on your hard drives; you are recording media that is YOUR property, not the clients. The content file (delivered final edit) belongs to the client. It’s actually not nearly as complex as the person in this video insists. The photons and sound waves recorded by your property onto your property become your property. This same principle applies if you’re the one renting the camera/microphone equipment as well. If a client wishes to license or purchase your property (media), that’s a completely separate discussion and negotiation. If you’re brought onto a project as a sub-contractor or working with a separate production house, that’s also different, but if you’re hired to capture media with and onto your property, the media becomes your property. The client has no rightful claim of ownership over the ones and zeros on your hard drive. I’ve actually defended this in court before and it’s a pretty straightforward process of establishing ownership of property. It’s even easier when you include a Property of Media Clause drafted into your contracts with clients, which I recommend everyone have. I’ve also hard to learn this lesson the hard way having shot footage I was proud of only to give it to a post house who colored and edited it in such a terrible way that it actually hurt me professionally having my name associated with the awful visuals of the produced content.

[@PullMyFocus]

In the US that is incorrect. US copyright makes no distinction about how the media is recorded or what it's recorded on in regards to copyright. As I stated in the video US copyright law covers when it's your copyright and when it's not which is a work for hire.

[@cambodianz]

@@PullMyFocus The illegitimacy of copyright law aside, there isn't a single sequence of ones and zeros occupying my hard-drive that anyone other than me owns a rightful property claim of. That would be as nonsensical as claiming ownership over the photons that I focused through my lens which ended up hitting my sensor. None of the media I capture as an independent contractor belongs to anyone else. An Ownership of Media Clause is a pretty straightforward definition of terms and scope of contractual labor and one I've successfully and easily defended legally. Doing so as Pro Per even. Pretty simple stuff to communicate.

[@roehaus1]

This is a very complex subject. I've done probably a couple of hundred weddings and portrait work over the years (1960's-1990's) all stills on film. Then moved on to Super 8 & 16mm... then digital. Work for hire for local studios and my own jobs. I would NEVER give my negatives, for my own jobs, to the clients/couples. If you are in business... any business, the object is to maximize profit. Especially if you're a freelancer and, on the average, I could usually earn an additional 15-25% on a job thru reprints and frame sales. And, if I were doing a work for hire job... I would insist on a nominal usage fee for my equipment in addition to my service. Now I do short films/videos, mostly volunteering as cinematographer, but only up to a certain point to help beginners. If the project requires extensive travel and overnight stays, I will not take the job unless I am compensated for the expense. I always have this discussion with local cinematographers about clients asking them what kind of camera they are using. If a client asked me that... my answer/question would be, what's your budget. Hell... I'll use an ARRI if you want to pay for it! I guess... the moral of this story is, never give away your services and talent. You've worked too hard to acquire these assets.

[@PullMyFocus]

It is a complex subject. For us, maximizing profit working for agencies means work for hire and yes we do charge equipment fee for shoot days (camera package, lighting, sound).

[@jamilgotcher365]

Did you notice that they never talk about needing raw files in the initial communication when they are wanting a price quote? Shady af.

[@user-cs6vr1uq6n]

Should your videographer keep your videos?

[@PullMyFocus]

No but we found it's a good idea because it makes any future work with the client and that footage easier.