Packages
Two videos of the same length can be completely different jobs. One may be a handful of calm illustrated scenes; the other the same length again, cut short and rebuilt out of your interface. A price list that could not tell them apart would be wrong for both, so we quote per piece - and this page is exactly how that figure is reached.
Start here
Three shapes, one of which is yours. It is the first thing settled and the thing everything else hangs off.
One idea, held for as long as it takes to land
One thing your product or service does, one audience, one thing to do next. The script carries a single argument from the opening frame to the closing card, and the animation is built to keep that argument moving rather than to show every screen you have.
A job inside your software, step by step
A sequence through your interface: where somebody starts, what they press, what changes on the screen and what they end up with. Screens are rebuilt as vector artwork wherever a step needs elements to move on their own, so the pace follows the explanation rather than a recording.
Several features or audiences in one script
More than one idea in a single piece, with the structure to keep them apart: chapters, a returning device between sections, and a close that pulls them together. Cut-downs for separate features and a captioned version for silent playback are made from the same build rather than started again.
What moves the figure
Duration and complexity, taken apart into the six things they are actually made of. Every one of them is a decision you get to make with the consequence in front of you.
01
Runtime is the first thing that moves everything else: every second on screen is a second that has to be drawn, timed and narrated. We agree a target length at the brief and the script is written to it rather than trimmed to fit afterwards.
02
Two pieces of the same length can be very different jobs. A handful of long, calm scenes costs less to build than the same time cut into many short ones, each with its own artwork and move.
03
Rebuilding an interface as vector is drawing work; animating what you send is not; illustration sits between the two. The storyboard settles which of the three every scene uses, and that is where most of the difference lives.
04
Narration by a voice artist brings auditions, a recording session and a licence for the recording. Narration you record yourself brings none of that. A piece carried by on-screen text alone brings neither, and is written differently from the start.
05
A licensed music track and sound design are chosen for the piece, and the licence is bought for the use you need. Which licence that is - and what it allows - is named in the quotation, because a licence for internal use and one for paid advertising are not the same purchase.
06
Cut-downs, square and upright crops, a silent captioned version, subtitle files, other languages and handover of the project files are each their own item. They are cheaper ordered with the piece than commissioned after it has been closed.
Narration
You hear auditions against your own script and choose the voice before anything is booked. The script is locked before the session: a recording is bought once, and rewriting a line after it has been recorded means buying the line again.
You record the narration and send the files; we clean them up as far as the recording allows and cut the animation to them. What we cannot do is rescue a recording made somewhere too noisy, so we will say plainly if a take will not hold up.
On-screen text, pacing and sound carry the whole piece. It is written differently - fewer words, longer holds - so this is decided at the brief rather than dropped later.
Handover
Ordered with the piece, these come out of the same build. Commissioned after an order has closed, they are a new job.
The master and any agreed cut-downs, in the file format, frame size and frame rate set out in the quotation. Sent by email where they are small enough, otherwise as a download link.
Burned-in captions as a separate version of the video, a separate subtitle file, or both. Which of those you get is an item in the order rather than an assumption.
The animation project, the vector artwork and the audio as separate files, so another studio can pick the piece up. This is its own item in the quotation: it is a different thing to buy from a finished video.
Fonts and licensed music stay under their own licences, and those licences do not transfer with a project file. Where a piece uses either, the quotation names the licence so you know what you have and what you would need to buy to reuse it.
The quotation
No figures are published on this site. Work is quoted in pounds sterling (GBP), and the figure in a quotation is the whole of what is payable for the work described, taxes included. Nothing is added to it afterwards.
This site takes no payments: there is no basket, no card field and no account. Payment is arranged against the written order confirmation, by bank transfer or through a secure payment link, and card details are handled by the payment provider rather than by us.
If something is not in that document, it is not in the order. Ask and we will add it and re-quote, which is a great deal cheaper than discovering it at the end. Questions about a quotation go to contact@edumovies.net.