It’s a truly all-inclusive rate. Each production day covers your pre-production planning, the shoot day on set, and full post-production editing for the finished video (if referring to Videography). If your project requires multiple shoot days, the math is simple: $X × the number of days. That’s it. No separate editing quotes or hidden post-production fees down the road.

During our initial consultation, we’ll go over optional add-ons (like preferred editing software, raw footage delivery, extra social media cuts, or additional revision rounds), but your core project, from prep to final edit, is completely covered. Zero surprises.

In the past, I’ve taken on unpaid projects, but I’ve learned the importance of setting clear boundaries, especially after a referral led to a misunderstanding about my rates. Now, I only consider unpaid work if I have partial ownership and creative control over the content.

This means, from a creative producer standpoint, I must have a say in the overall direction; from concept and visuals to editing and approval of the final cut. I also retain the unrestricted right to share, distribute, and publish the final product on my own channels (website, social media, portfolio, etc.) at my sole discretion and without needing additional approval.

In addition, I must have the right to profit from the content independently—including using it for paid promotions, products, services, or through monetized social media channels, without any obligation to share revenue or credit beyond what’s agreed upon upfront, just as you are free to do on your end.

Unpaid projects are limited to a maximum of 6 total hours of shooting time, which may be split across multiple days if needed. Any time beyond those 6 hours will be subject to my standard rates.

If you're reaching out about a collaboration, please keep these guidelines in mind so we can set clear expectations from the start.

These collaborations still require a significant investment of my time, energy, and professional equipment. By maintaining a stake of ownership in the final product, the work remains valuable to me beyond the shoot itself. These conditions allow me to continue growing my portfolio, sharing the content freely on my own platforms, and, when appropriate, profiting from it independently.

This approach ensures I can deliver the best possible outcome for you, even within limited resources. When we’re both benefiting in clear, meaningful ways, I’m able to give the project my full effort and attention.

If you’ve opted to have licensed music that I’ve provided in your final video, the video needs to safelisted before uploading online.

Here’s a guide to help make sure you’re cleared to post your video without any copyright flags:

https://www.rjaymolina.com/safelisting-videos

Please note that if you’ve provided music for your video, you do not need to safelist it through me to upload. Follow whatever guidelines you were given by the artist who provided your music.

On a practical level, Cinematography is focused entirely on creating the distinct look of a narrative or commercial project and managing a team to achieve the director’s vision if the scope is large enough. This work involves operating the camera, lighting the set, and handling other fixtures to shape light for a director or producer who already has absolute control over the filming locations, talent, and schedule.

Videography typically involves less control over the physical environment, requiring rapid planning, execution, and real-time improvisation on the ground.

For my purposes, videography means combining cinematography, sound capture, and comprehensive post-production services into an all-in-one workflow.

A consultation determines specific project needs to bring the creative vision to life. If an editor or director is already attached to the project, a standalone Cinematographer is generally required. If a project requires a partner to handle the visual capture, audio gathering, and final editing phases end-to-end, a Videography service is the correct fit.

I have my own camera, sound equipment, lighting kit, and other essential gear to handle small to medium scale production scenarios. You can see a list of my gear here and examples of my work created with these tools throughout my site.

Alternatively, if you prefer to provide your own equipment for the project, you would only need to pay my Daily Rate and travel fee (if applicable).

So whether you need a complete package with my equipment or just a skilled cinematographer/camera operator, I can accommodate your needs. Let me know what works best for your project, and we can discuss your investment accordingly.

I prefer editing and color grading in DaVinci Resolve Studio.

However, if you prefer a specific editing platform, you may choose one of the following for your project:

• Adobe Premiere Pro
• Final Cut Pro

Please note:

• Choosing a specific NLE (non-linear editing) platform will incur an additional fee added to the final invoice.

• Choosing a specific NLE implies that you also require a project archive, which will be delivered in that format and will incur a separate archival fee.

• The Premium tier of my videography and post-production services includes an NLE choice and project archival.

If you’re unsure which option is best for your needs, I’m happy to advise during pre-production.

Please note that I do not edit on pirated or free software. If you choose a specific NLE because you want the project file, you must have the current and paid versions of each software listed above. For example, I use tools within DaVinci Resolve Studio that are not available on the free version. Premiere Pro uses the latest release. Final Cut Pro uses the latest version not bundled with Apple Creator Studio.

We can discuss the pros and cons of each option during our consultation to determine the best fit for your project.

The reason I offer these choices is to accommodate clients who may already edit using a specific software, and want the working files. Otherwise, if you have no preference or don’t need the working file, I'll use the most efficient option for me.

All projects are based out of Richmond, VA. Local travel within 30 miles of Richmond is included at no additional cost.

For projects requiring travel beyond 30 miles, the following rates apply:

Regional Travel (30–60 miles) Travel is billed at $0.76/mile round trip, calculated from Richmond, VA to the shoot location.

Extended Travel (60+ miles) Travel is billed at $0.76/mile round trip, plus lodging at $175/night and a per diem of $60/day for meals and incidentals. Extended travel projects are quoted individually to ensure accuracy.

All travel costs are outlined transparently on your project quote before any agreement is made. There are no surprise fees.

Note: Premium tier productions requiring travel beyond 30 miles are handled through local crew hiring at the shoot location. Lead DP travel follows the same tiered structure above.

I offer an hourly rate of $100/hr for my Cinematography services to provide flexibility, especially for clients who only need a few hours of shooting rather than a full production day. This is ideal for smaller projects, pickups, content with tight timeframes, and productions with their own gear.

Q: Are post-production rates a flat fee or an hourly rate?

A: Primary post-production tiers are billed as predictable flat fees based on the video's final estimated runtime. This structure provides a clear baseline investment upfront, eliminating surprise hourly or daily bills at the end of a project.

To keep baseline rates highly competitive, flat-fee packages are built around standard project scopes:

• What’s Included: The base flat fee covers the complete main edit, color and sound editing, a structured number of revision rounds, standard formatting, and a generous source footage allowance (up to 2 hours / 150GB of raw media).

• Optional Add-Ons: If a project requires specialized elements, they can be added into the scope using transparent, modular pricing. These are broken down by project needs:

  • Fixed Project Rates: Elements like full NLE project file handovers, rush delivery, or alternate NLE surcharges are billed at a one-time flat rate.

  • Per-Unit/Scaled Rates: Fine-tuning assets, such as color grade overages, subtitles, custom titles, or extra video lengths, scale predictably per minute, per title, or per gigabyte.

• Data Overages: To protect editing timelines and hardware overhead, projects that exceed the standard 2-hour/150GB raw footage limit or require heavy multi-cam syncing are subject to a transparent media ingestion surcharge ($150 per additional 100GB).

The Bottom Line: The base cost is entirely fixed. Additional fees only come into play if there is a request to expand the project scope, require a rush delivery, or hand off an exceptionally large volume of raw media.

For videography, if you decide you only need someone to do cinematography and editing, not capture sound, the gear kit pricing is reduced.

For cinematography services, if you have a Grip & Electrical crew who can handle lighting, but still need a camera, the gear kit will be reduced.

For post-production services, if you have a sound designer or colorist, there is an “Edit” only service. The same is true for color grading or sound design only.

The key is identifying your exact requirements.

I offer limited Cinematography micro-budget rates for student films, passion projects, proof-of-concept shorts, and ultra-low-budget productions. This is not advertised on my main services page, but if you're working with serious creative intentions and a tight budget, I'm happy to discuss it.

Eligibility Requirements

• Located within 20 miles of Richmond, VA

• 1–2 shoot days maximum

Day Rate $550 / day (up to 7 hours) Overtime: $45 / hr beyond 7 hours

Camera body and one lens included.

Optional Add-Ons

• Full lens package: +$100/day

• Lighting kit: +$150/day

• LOG shooting + scene-by-scene color grade: +$450 (final cut up to 7 min)

If you find yourself adding multiple add-ons, it may be worth considering the Core Half Day package starting at $1,250, which includes everything at a flat rate with no complicated decisions to make.

A Few Things to Know

• Footage is shot in a standard color profile by default. The LOG add-on is available if you need more flexibility in post.

• Micro-budget rates are offered in the spirit of supporting independent creative work, not as a full-service engagement. Some aspects of my standard workflow may be adjusted accordingly.

For standalone cinematography services, raw footage is transferred digitally or via drive media once the final invoice payment is settled. Ongoing archival protection is not guaranteed for cinematography-only contracts unless explicitly purchased as an add-on.

For full Videography services, raw working assets are handled based on the client's specific needs, under the requirement that all core project deliverables must be completed, approved, and final payments settled before any footage transfers take place:

• Raw Production Footage (Standalone Handoff): If the goal is a master handoff of all raw, unedited camera files (LOG/RAW formats), delivery is quoted case-by-case based on the total data footprint and the required delivery method.

• The Native Project File (Requires Raw Footage): If the goal is to own the edit timeline, the Project File Add-On is available for a flat $450. Please note: An editing project file is a text-based blueprint that cannot function without its source media. Therefore, purchasing the project file requires that the client also secures the Raw Production Footage transfer.

To reserve your date and lock in the services, a signed contract and a non-refundable 50% Initial Payment prior to the shoot or the start of the edit is required. No exceptions.

Electronic payments are made through my website, using the latest online payment methods, including Apple Pay and ACH! This ensures a streamlined process, from you contacting me, receiving a proposal, estimate, contract, and an invoice all from the same place.

Cash is only acceptable for in-person payments. No mail-ins. The same terms apply when payment is due.

The final payment must be paid before you can download your completed video(s).

If I’m only providing cinematography services, final payment is due prior to footage transfer.

No exceptions.

After our initial consultation, I draft a project plan with a timeline for completion to provide an idea of when to anticipate payments.

The timeline for completing a video project can vary depending on the scope of work:

• For a full, end-to-end service (from concept to final delivery), the process could take anywhere from one week to several months.

• A proposed schedule is always included as part of the service agreement, ensuring both parties have a clear understanding of the expected timeline.

The specific duration will depend on factors like:

• The complexity of the project

• The amount of pre-production, production, and post-production work required

• Any revisions or changes requested during the process

I'm happy to provide a detailed project timeline estimate once we've discussed the specifics of your video needs. This will help set realistic expectations and keep the project on track from start to finish.

I typically factor in at least 7-10 days when developing an estimate for the editing process on a video that’s less than 15 minutes long. The number of days needed is determined by the following steps:

• Media Management: Labeling and organizing footage and audio.

• Revisions for each cut of the film:

  • At a minimum…

    • Assembly Cut: Includes all dialogue shot during production.

    • Editor's Cut (aka Rough Cut): I provide suggestions for improvement, typically narrowing the focus.

    • Director's Cut: You provide additional notes for improvement, if any, before picture lock.

• Color Correction and Grading

  • At a minimum…

    • Colorist’s first attempt at establishing the overall look of the film

    • Director’s notes for improvement

• Sound Design

• Beginning/End Titles for the project

The duration of the editing process can vary depending on the complexity of the project (i.e., adding subtitles), the number of revisions included in a package, and the time it takes for revision notes to be received.

For scheduled production days, the shooting timeline will be adjusted in the event of inclement weather. Due to the structured "50% upfront, 50% upon completion" payment schedule, final billing milestones will simply shift to reflect the new production completion date.

This protection also applies to post-production timelines if severe weather events cause localized power grid failures or network outages that delay uploading and delivery cycles.

Losing a copy of the final video?

Deleting or losing a completed video file is nothing to worry about. Standard investments include Archival of the final exported master cut. If a final deliverable is ever lost or misplaced, a replacement copy can be requested and downloaded at any time at no additional cost. The finished video files are securely backed up across multiple redundant storage platforms for long-term safety.

Project (File & Raw Asset) Archival

Retaining a working timeline environment is entirely different from saving a final video file. Project Archival ($450), which includes the native editing software project files, audio stems, and color assets, is an optional add-on service (though it is built automatically into the Premium Post-Production tier). RAW footage must also be purchased, but pricing is quoted case-by-case based on the total data footprint and the required delivery method.

Specific third-party plug-ins utilized during production are not included in the transfer, but access to the edit and any standard native software plug-ins remains intact.

Forgoing Project Archival

Unless a project agreement explicitly includes Project Archival, un-purchased raw source assets and working timelines are only stored until the completion of the project and final settlement of the invoice.

I may use relevant materials for updating personal editing or color grading showreels, after which the raw assets are securely purged from local storage arrays to clear capacity for future productions. A courtesy notification is sent via email a few days prior to data deletion. After the stated deadline, those raw files will no longer be available.

Active Gallery Hosting & Vault Storage: Archived files remain actively hosted online for 1 Full Year for user download. To protect your assets long-term, your finals are mirrored to a secure off-site Contingent Business Archive, which is maintained for as long as R Jay Molina, LLC. is in active operation. If this archival infrastructure ever changes, you will be notified well in advance to download your assets.

No problem! Contact me with your question and we’ll sort it out.