Free Video Editing Invoice Generator
Show the hours the cut actually took, the ingest and graphics work sitting behind it, and any round of notes past the ones you included — then export a free PDF.
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INVOICE
INV-001
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| Description | Qty | Rate | Amount |
|---|---|---|---|
| Item description | 1 | — | $0.00 |
- Subtotal
- $0.00
- Total
- $0.00
What an editor bills for once the footage lands
An editing invoice is built from the work you did after the shoot wrapped, not from the days the crew spent shooting. Most editors price one of three ways — hourly from the edit log when the scope is open-ended, a flat fee against a written scope, or a per-finished-minute rate when the runtime is fixed and the rushes arrive organized — and all three fit the same three columns as long as the description names the unit. One line should never mix two of them. If the client hands you the rushes, add media management as its own line: ingesting, transcoding, building proxies and backing up a terabyte or two is real time, and it vanishes the moment you fold it into the edit fee.
Everything the edit line does not name is where a job quietly loses money. Give the graphics package its own line and count the builds — an animated title card, six lower thirds and an end card is eight, not one "graphics" lump. Put the color grade on its own line, priced by the session or by the minute, and do the same for the sound mix, for each extra deliverable and aspect ratio, and for captions. Licensed music and stock clips are pass-through costs: list them with the track or clip named, and say in the notes whether they carry a markup, because there is no expenses or shipping field to tuck them into.
Revision rounds are worth numbering. State in the notes how many rounds the fee includes, then bill the rest as their own lines — "Revision round 3 — client notes 14 August" — by the hour or at a fixed rate per round. A rush turnaround also has to be a line item, because the single discount field only ever subtracts from the subtotal and can never add to it. Delivery specs, who keeps the project files, and how long you hold the media are notes-field material, and they are exactly what a client asks about months later — answer them on the invoice while the job is still fresh in everyone's head.
Where the hours went on a documentary cut
A 12-minute brand documentary cut over two weeks from footage the agency shot themselves and handed over on two drives. The edit is billed straight from the log because the scope was never fixed, the ingest and backup of 1.4 TB is counted separately at a lower rate than the cutting, the graphics package is counted build by build instead of guessed at, the grade is booked as a half-day with a colorist, and a third round of notes arriving after the two included rounds is billed at the rate the contract names for out-of-scope work.
| Description | Qty | Rate | Amount |
|---|---|---|---|
| Offline and online edit — brand documentary, from the edit log, per hour | 46 | $85.00 | $3,910.00 |
| Media management — ingest, transcode, proxies and backup, 1.4 TB client footage, per hour | 6.5 | $65.00 | $422.50 |
| Motion graphics — title card, 6 lower thirds, end card, per build | 8 | $120.00 | $960.00 |
| Color grade — primary and secondary passes, half-day session | 0.5 | $900.00 | $450.00 |
| Revision round 3 (beyond the two included) — client notes 14 August, per hour | 3.25 | $95.00 | $308.75 |
| Subtotal | $6,051.25 | ||
| Total due | $6,051.25 | ||
Nothing here is billed as a single "editing" figure, so when the client asks why a third round of notes costs money, the invoice has already answered.
An editor's pre-delivery check
Count the hours from the log
When the scope is open-ended, the edit line carries hours straight off your edit log as decimals — 46, or 3.25 for a revision — against the rate your estimate named, so every figure can be checked against something.
Ingest is work
Transcoding, proxies and backing up client drives belong on a media management line with the hours counted, not buried inside the edit fee where nobody sees them.
Count graphics as builds
Title cards, lower thirds and end cards are separate builds; a quantity of 8 against a per-build rate is far easier to defend than one lump labeled graphics.
Number the revision rounds
Put the included rounds in the notes and every extra round on its own line with the date of the client's notes, so the scope conversation happens on paper.
Rush and licensing are line items
A rush surcharge and any licensed music or stock have to be lines of their own — the single discount field only subtracts, and there is no expenses field to hide costs in.
How to create an invoice online
- 1
Fill in the details
Add your business info, your client, line items, tax, and an optional logo or discount.
- 2
Watch the live preview
The invoice updates as you type, so you always see exactly what your client will receive.
- 3
Download the PDF
One click generates a clean, professional PDF invoice — free and without a watermark.
A simple invoice maker for freelancers and small businesses
Everything you need to bill a client properly — and nothing you don't. Create an invoice, check the live preview, download the PDF, get paid.
Instant PDF download
Generate a polished A4 invoice PDF in one click — no waiting, no email required.
No sign-up, no watermark
Completely free to use. Your invoice is yours, with no branding stamped on it.
Private by design
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Logo, tax & discounts
Add your logo, any tax label and rate (VAT, GST, sales tax), and percentage or fixed discounts.
Saves as you type
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20 currencies
Invoice in USD, EUR, GBP, INR, JPY and more, with correct rounding for each currency.
Frequently asked questions
What belongs in the edit line, and what should be split out?
Keep the edit line to the cutting itself — offline and online — and split out anything a client could reasonably read as a separate craft: media management, motion graphics, the grade, the mix, extra deliverables and captions. Do not mix two pricing models in one row either; if the edit is hourly from your log, a fixed-price graphics package does not belong on the same line.
How many revision rounds should the fee include?
Two rounds against a consolidated set of notes is a common baseline, but the number matters less than writing it into the notes field before the first cut goes out. Bill anything beyond it as a numbered line — "Revision round 3" — with the date of the notes, so the extra work reads as extra scope rather than a surprise charge.
Where do stock music and licensed footage go on the invoice?
On their own lines, named, with the quantity as the number of tracks or clips — there is no expenses or shipping field to put them in. Say in the notes whether you are passing them through at cost or adding a handling markup, and keep the license IDs where you can produce them.
How do I add a rush fee?
Add it as a line item — "Rush surcharge — 48-hour turnaround" — at a fixed amount or a figure you have already worked out as a percentage of the edit. The one discount field can only reduce the subtotal, so a surcharge can never be entered there.