Boston Freelance Videographer & Director of Photography
Emmy Award winning freelance DP, camera operator, and editor based in Boston, working across the North Shore
(Peabody, Beverly, Salem, Danvers), Greater Boston, New England, and New York.
Transparent pricing
Build your estimate in a few clicks.
Pick a package, answer a handful of questions, and watch the number move. Crew, travel, outdoor lighting, captions, music, and rush are all priced in. Save it as a PDF and compare later.
50%retainer locks your date, balance at delivery
1 dayto hear back, usually sooner
0surprises on the invoice: every line is on the estimate
Step 1
What are we making?
Pick one
Step 2
What do you need?
Pick one
You get the raw footage, organized and backed up, to finish with your own team.
Already have footage? Send a link and I'll price the edit on its own.
Step 3
The shoot
Stills and motion on the same day means one operator switching between them, so the video is shot handheld on the a7 IV. The FX9 packages need the camera built and left on sticks, which is not a thing I can do while I am also making photographs. If you need both and you need the FX9 look, that is a two-person day: say so in the message and I will quote it.
Gear & package
One camera, one operator, built to move: the Sony FX9 with a boom mic riding on the camera for scratch sound. Add up to three wireless mics, $60 a day each, for the people you need to hear cleanly.
The interview package is the Sony FX9 on one locked angle with the lighting package and professional boom and lav mics. Add the gimbal package, $400 a day, to bring the Sony a7 IV along on the Crane 3S as a second, moving angle.
The 2-camera interview package is the Sony FX9 as the A-camera and the Sony a7 IV as the B-camera, two angles on one subject, with the lighting package and professional boom and lav mics. Add the gimbal package, $200 a day, to put the B-camera on the Crane 3S for a moving angle.
Four angles on a panel, a roundtable, or a sit-down that has to cut like television. The FX9 and the a7 IV come from my kit; the other two bodies and matching glass are rented for the week so all four match in the grade, with a 2nd camera / AC to run them. Because the rental house sets those numbers, this package isn't given a flat price here. Tell me the date and the room and I'll quote it against that week's rental rates.
The event gimbal package is the roaming camera for a gala, concert, or conference: the Sony a7 IV on the Zhiyun Crane 3S with the 28-135 servo zoom, a boom mic, and one wireless kit. A lav or handheld feeds the camera over XLR so speeches and toasts come in clean, and Tentacle Sync timecode locks the roaming camera to any locked-off angles and the board feed, so the whole event lines up in post without hunting for sync. $1,800 a day, all of that included.
The lean day: one operator with the Sony a7 IV and the 28-135 handheld, a shotgun mic on the camera, available light. Right for quick social content, a walkthrough, or a small event where the camera needs to disappear. No lights or lav kits by default; add the interview setup below for a lit sit-down, or step up to the (ENG) Broadcast or Interview package for the full kit.
Multi-day shoots, larger crews, or specialty gear? Tell me what the production needs and I'll build a custom package and quote around it.
Turns the handheld day into a proper sit-down: XLR top handle with a boom holder, a boom or a wireless mic, one 600W light, a reflector, and a tripod. $550 a day on top of the handheld package, so a lit interview day comes in at $1,250.
The gimbal package adds the Sony a7 IV on the Zhiyun Crane 3S with the 28-135 servo zoom: camera, lens, and gimbal together, for walk-and-talks, walkthroughs, and reveals that float. $400 a day on top of the interview package.
People on camera
1
Shoot length
Shorter days aren't a straight percentage. The gear is a day rental whether it works three hours or eight, so a half day or a short call comes down on the labor, not the kit.
Number of days filming
1
What's the video for?
Cinematic ads and brand films, the way I shot Converse and TD. Tell me the product and the feeling and I'll pitch a look.
Series work with a delivery date every week. I shoot and cut Cardillo’s World for NBC Sports Boston, so the field day is planned around the edit: segments, b-roll lists, and sound that lands on the camera so the show cuts on schedule. Broadcast delivery is priced in the edit step.
Lit, two-angle sit-downs that make people look like themselves on a good day. Most run a half day per subject including setup.
Galas, concerts, conferences, no second takes. Consider the Event Gimbal package above for the roaming camera.
Mission-driven stories for Boston University and the MFA Boston. Nonprofit budgets are always welcome; say so and I'll scale to fit.
Shot with vertical in mind from the start, so the cutdowns don't fight the frame later.
Indoor or outdoor?
Want the outdoor lighting kit? $250/day
Highly recommended, and best with a PA or a gaffer to hold and move it. Sun moves, clouds come and go, and a battery-powered key with diffusion and a bounce is what keeps a walk-and-talk or a sidewalk interview looking like it was planned. Encounters with Eternal Presence for the MFA Boston is the example: a PA and the outdoor kit turned on-the-fly talking-head interviews in front of the Big Head in Roxbury into something beautiful.
Crew add-ons per day, pick any
Crew are trusted people I've worked with for years. A sound op runs the boom and mixes so I can stay on the frame; a gaffer lights bigger rooms; a 2nd camera / AC pulls focus, swaps media, or runs the B-camera; a director / producer runs the day, the talent, and the schedule so you don't have to; a PA does everything else the production needs. Day rates are industry-standard non-union rates in the Boston metro. The exact people and their rates vary by freelancer, so these are the standard numbers and can change before production depending on the scope of the project; everything is confirmed on the estimate before you sign.
Extras pick any
$300 covers recording and cleaning up the read on the shoot day if you have the voice. A professional VO artist is quoted on top, by the script.
Live picture for a producer on set?
Included. The wireless village sends the live frame to a director's monitor and up to three client phones, so everyone sees the shot and nobody crowds the camera.
Book your date preferred, plus a backup if you have one
Where is the shoot?
Travel covers mileage and the drive time each way. Anything with a flight or a hotel is quoted at cost, never a surprise on the invoice.
Step 4
The edit
What are we cutting?
A spot for broadcast or paid social, from :15 up to two minutes: the cut, the color, the mix, and the broadcast-spec master. Two revision rounds on a commercial, not one, because the client has a client.
A highlight that makes the night look the way people remember it, anywhere from a minute to eight: speeches trimmed to the lines that land, music licensed, cut for the feed and the big screen.
Short-form for the feed, :15 to four minutes each, with the crop and the pacing the platform wants. Set the runtime, then add as many as you need.
One episode, start to finish: the shoot day with the (ENG) Broadcast package, the edit with segments, bumpers, graphics, and mix, and the conform and QC to the network spec, on a standard turnaround. Priced from $5,500 for a 23:30 cut built for a 30-minute slot; drag the runtime out to a full 30 minutes for a no-ads stream or DVD. The day rate for the package you picked above is folded in; extra shoot days, crew, travel, and gimbal add on top. Rush is quoted separately on a series.
Starting at $3,700 for a 23:30 cut, designed for a 30-minute broadcast slot with ad breaks, the way I cut Cardillo’s World every episode: segments, bumpers, graphics, mix to spec, a master the network can air. Drag the runtime out to a full 30 minutes for a no-ads stream.
A one-hour documentary or special. A commercial hour on TV runs about 42 to 47 minutes of content; the low end here is a 45-minute cut, the high end a full 60 for streaming with no breaks. Story structure from the transcripts, archival, graphics, color, and a full mix, with a rough cut and a fine cut before the final.
A 90-minute film: from a 72-minute cut for a broadcast slot with breaks to the full 90 for streaming or festival. The whole documentary process, paper edit through picture lock, with a rough cut, a fine cut, and a final.
Runtime: 0:30$1,500
0:152:00
How many cuts? $250 each
0
Add short-form cuts from the same footage? $250 each, up to :30
0
Hours of footage you're sending ~$25/hr to review
0
Graphics & lower-thirds $25 each
0
Formats to deliver first is included, $150 per extra version
Music
Licensed from a library I use for broadcast work, about $100 a track at cost. No copyright strikes, no takedowns.
Brand kit ready? logo, fonts, colors
No problem. $250 builds a clean title and lower-third style from your website and logo, and you approve it before the cut.
Where will it live?
A $350 conform and QC fee covers delivering to the network or platform spec: the exact frame rate and codec, loudness to the standard, timecode, slate, closed captions in their format, and a QC pass before it goes out. I hand NBC Sports Boston a 28:30 master every episode of Cardillo's World this way.
Turnaround
Every edit includes color grading, sound polish, and one free revision round. Want to keep refining? We continue at the $350 editing-day rate until you're happy with it.
Step 2
The session
What kind of photography?
I come to you. One person or a whole team in a single visit, lit the same way every time so the wall of faces on your site actually matches. Delivered ready for the website and LinkedIn.
A flat $500 for two hours in the studio, with a 30-minute consultation first to talk through wardrobe, background, and what the photos are for. For one person who wants their own headshot done properly, not squeezed into a corporate day.
Portraits with a point of view: a subject in their own space, lit and composed like a magazine feature rather than a record shot. Founders, artists, faculty, athletes.
Galas, conferences, openings. Tell me the run of show and I'll be where the moments are.
$800 a day for the shoot itself. Production costs and rented gear are quoted on top and itemized before you sign, so a small campaign and a big one are priced off the same honest day.
How many people?
1
Hours of shooting pick a type above
0
Shoot days $800/day
1
The session is a fixed two hours, so there is nothing to count here. We'll use the 30-minute consultation beforehand to plan the looks.
The Canon EF 70-200mm f/2.8L comes on every session at no charge, for candids from across a room and the compression that makes a portrait sit back off its background. Anything beyond the shoot itself is itemized in your estimate before you sign.
Finished photos you need first five included, $10 each after that
5
Retouching
Skin, stray hairs, backgrounds, product edges, per image. $25 for each finished photo above.
Lighting
Strobe, octobox, and LEDs are in the kit fee. Headshots and product are almost always lit; events usually aren't.
Prints or an album?
Archival lustre prints and albums are quoted by size and count once we pick the frames.
Book your date preferred, plus a backup if you have one
Where?
How will the photos be used?
Paid advertising use adds a 50% license on the shooting fee, and the images are cleared for it in writing.
Turnaround
Your estimate
Estimated starting point$0
A ballpark to get us talking. Your real quote is itemized and based on the actual project. Anything marked "quoted" isn't in the number yet.
What's in it
1You send this. I reply within a business day.
2A quick call to fill in the blanks, then an itemized estimate.
3A 50% retainer locks the date; the balance is due at delivery.
BU CFAMFA BostonMTV FilmsHBONESNDirty Water MediaCardillo's WorldHearst MediaDiscovery ChannelRice LumberBU CFAMFA BostonMTV FilmsHBONESNDirty Water MediaCardillo's WorldHearst MediaDiscovery ChannelRice Lumber
Packages & Day Rates
BudgetHandheld
$700 /day
Sony a7 IV · 28-135Best use case: Social, vertical content, single-character run and gun
One operator, handheld, shotgun on the camera, available light. Social content, walkthroughs, small events. Add the interview setup for $550.
Half day $500 · Under 3 hrs $400
Highest quality(ENG) Broadcast
$1,800 /day
Sony FX9 · 28-135 · B4Best use case: News and reality TV
Built to move. Boom on the camera for scratch, up to three wireless mics at $60 each, on-camera LED, sticks and shoulder rig.
Half day $1,200 · Under 3 hrs $900
Most dynamicEvent Gimbal
$1,800 /day
a7 IV on the Crane 3SBest use case: Dynamic run and gun shots
The roaming camera for a gala or conference: boom plus one wireless kit into XLR, timecode locked to the locked-off angles and the board feed.
Half day $1,500 · Under 3 hrs $1,250
HBO · MTV · Discovery Channel approvedInterview
$2,100 /day
Sony FX9 · 28-135 · 24-70Best use case: Customer testimonials for small businesses and web advertisements
One locked angle, lit: 600W key through an octobox, background wash, boom and two lavs, timecode. Add the a7 IV on the gimbal for $400.
Half day $1,800 · Under 3 hrs $1,550
Emmy Award winning2-Camera Interview
$2,600 /day
FX9 A-cam · a7 IV B-camBest use case: Documentary films and TV testimonials
Two angles on one subject with the full interview lighting and sound package. Put the B-cam on the gimbal for $200.
Half day $2,300 · Under 3 hrs $2,050
4-Camera Interview
Based on rental rates
FX9 · a7 IV · two rentalsBest use case: Groups of three or more, or a high-end 60 Minutes style two-person interview
Panels, roundtables, and sit-downs that have to cut like TV. Two matched rental bodies join my two, with a 2nd camera / AC. Quoted against that week's rental rates.
Half day and short calls quoted the same way
Click any package to see it on a real job. Scroll or use the arrows for more.
What I Shoot
Click one to see the work and the credits.
Documentary & TV
HBO · MTV · NBC Sports Boston
Commercial & Brand
Converse · TD · CRISPR Therapeutics
Live Events & Concerts
NESN · The USO · The Trustees
Higher Ed & Nonprofit
Boston University · MFA Boston · Lesley
Editing, Color & Motion
From $250
Photography
From $150/hr
The Kit
Owner-operator: camera, sound, and lighting show up with one person and one line on the estimate.
Cameras
Sony FX9 as the A-camera, Sony a7 IV as the B-camera and the stills body, Panasonic EVA1 and a Canon C300 Mark II in the kit. Up to three on one shoot.
Lenses
Sony 28-135 f/4 G servo zoom for doc days and photography, Canon 24-70 f/2.8L for the close-up, true B4 broadcast glass for ENG.
Sound
Rode NTG3B boom, wireless lavs, the RE50B for the street, Tentacle Sync timecode. Also for hire as a sound op.
Light
600W key through a 36" octobox, RGB accents for depth, an outdoor kit with diffusion and bounce. Lighting helped win the Emmy on HBO's Murder in Boston.
Movement & Monitoring
Zhiyun Crane 3S gimbal, Sachtler sticks, Ergorig, and a wireless village that puts the live frame on a producer's monitor and up to three phones.
How much does it cost to hire a freelance videographer in Boston?
Every project is scoped individually based on crew, gear, shoot days, and post-production needs. After a quick call, I send a transparent, itemized estimate that covers everything, so you know exactly where your budget is going. A 50% retainer locks in your date, with the balance due at delivery. There's a full breakdown of how estimates come together on the pricing page.
What kinds of video projects do you take on?
Documentaries, commercials and brand films, live events and concerts, higher education and nonprofit stories, and corporate video, plus photography: on-location corporate headshots, in-studio headshot sessions, editorial portraiture, event coverage, commercial, and fine art, all shot on the Sony a7 IV. My credits include HBO, MTV Films, the Museum of Fine Arts Boston, Boston University, and Lesley University.
Do you work outside of Boston?
Yes. I work all over the North Shore, including Peabody, Beverly, Salem, and Danvers, as well as Greater Boston, New England, and New York, and I'm happy to travel further for the right project. Travel costs are itemized up front in the estimate.
What camera and lighting gear do you bring?
Up to three cameras on one shoot: Sony FX9, Panasonic EVA1, and Sony a7 IV, with a Canon C300 Mark II in the kit as well. Sony 28-135 servo zoom and B4 broadcast glass, wireless video feeds, a full lighting and grip kit, a Zhiyun Crane 3S gimbal package as an add-on, and professional audio. Post-production runs on a Mac Studio edit suite. The kit scales up or down to fit the project. The complete list is on the kit and gear page.
Do you handle editing and post-production?
Yes. I offer editing, color grading, motion graphics, nameplates, and audio mixing in Adobe Premiere Pro and DaVinci Resolve, and every edit includes one free round of revisions. If you'd rather finish the project with your own team, I can deliver the raw footage instead.
How far in advance should I book?
Two to four weeks of lead time is comfortable for most projects. Your date is secured with a 50% retainer, due at signing or one month before filming, whichever comes first, and the crew locks in one week before the shoot. On a tight timeline? Reach out anyway and I'll tell you honestly what's possible.
Both. For interviews and smaller shoots I often work as a solo operator, which keeps things nimble and budget-friendly. For bigger productions I bring trusted gaffers, audio techs, and additional camera operators, all itemized in your estimate.
Package
◆ Hover any piece of gear in the drawing to see why it’s in the kit
