Start with the scope.
Machine House scopes content production around the formats, release rhythm and stages we own. Most ongoing engagements run on quarterly retainers. We prepare a written proposal with the team, deliverables and investment after an intro call.
We do not publish a universal per-video rate because two videos of the same length can involve very different work. A hosted interview, a research-led film and a founder’s camera-to-person explanation need different preparation, people and post-production.
What changes the quote.
| Driver | What to specify |
|---|---|
| Strategy | A defined brief, a new show direction, a channel audit or ongoing editorial planning. |
| Research and writing | Source depth, subject complexity, script length, questionnaires and review needs. |
| Recording | Locations, shoot days, crew, equipment, travel and who arranges the setup. |
| Post-production | Edit complexity, graphics, sound, finishing and the condition of the source media. |
| Packaging | Title directions, thumbnail concepts, design production and testing responsibilities. |
| Additional outputs | Trailers, recorded clips, original Shorts, language versions and other adaptations. |
| Publishing and review | Uploads, metadata, release coordination, analytics and editorial reviews. |
| Working process | Turnaround, revision rounds, approvers and changes to the agreed brief. |
Compare complete responsibilities.
These are illustrative scope shapes, not price packages. They show why “four videos a month” is too little information to compare proposals.
| Scope | The production responsibility |
|---|---|
| Edit support | You provide the footage, selected material and a clear brief. The engagement covers the agreed edit and finishing. |
| Editorial and production | The team develops the premise, researches and writes, plans recording, then edits and packages the release. |
| Full content operation | Strategy, slate, research, production, packaging, publishing and performance review run as one ongoing engagement. |
A lower quote may cover fewer stages. Put the responsibilities side by side before deciding which proposal offers the better fit.
An example of a quote-ready brief.
Four interview episodes, recorded across two planned shoot days. Guest research and questionnaires for each. Four long-form edits, four trailer edits and eight standalone short-form pieces. Titles and thumbnail production for each full episode. Publishing on the agreed channels and a monthly performance review.
The host approves guest selection and question direction. One person consolidates edit feedback. The quote identifies recording costs, travel, revision rounds, source-file delivery and any work outside this scope.
This example is a way to make a proposal comparable. It is not a recommended output quota or a description of a named client’s contract. The right release rhythm follows your audience, team and creative ambition.
Budget for research, writing and packaging.
Rishwajeet’s essay “You can pour ₹15 lakh into a video and set it on fire” uses a production-budget thought experiment to explain the importance of packaging. That amount is not a Machine House price or a disclosed client invoice.
The practical point is that the budget should account for the idea, script and package as well as the shoot and edit. Those decisions determine what the production is trying to accomplish. A complete scope gives them an owner.
Agency, in-house team or a shared operation?
An in-house team gives the business dedicated capacity and close access to its people and product. It also needs management, an editorial lead and enough sustained work for the roles hired. An agency engagement can assemble several disciplines around an agreed scope, but it still needs a client owner, timely access and clear decisions.
A shared operation is often worth comparing too: keep the people who know the business, then commission the research, writing, production or strategy capacity that is missing. Compare the same release plan across all three options. Include the founder’s review time, internal coordination, software, equipment, freelance specialists and the work needed between releases.
Ask each prospective partner to walk through a relevant project: the initial problem, their actual contribution, the decisions they made, what the client supplied and what was delivered. A show’s total views alone do not establish which part of the work that partner owned. Use the editor brief and research packet as examples of the level of handoff detail you can ask to inspect.
What to bring to the first conversation.
- Your existing channel or a few examples of what you want to make.
- The audience and business outcome the work should serve.
- The formats and approximate release rhythm you have in mind.
- Your current team, recording setup and the stages you want us to own.
- Timeline, budget constraints and who approves the work.
We can then decide whether you need strategy, a focused production engagement or the full content operation.
Questions about the method.
How much does Machine House charge for content production?
We prepare a written quote after understanding the formats, release rhythm, recording requirements and stages we own. Most ongoing engagements run on quarterly retainers.
Is recording included in a retainer?
It depends on the agreed scope. The proposal identifies shoot planning, crew, location, equipment, travel and other recording responsibilities so you can see what is included.
Are Shorts and thumbnails included with a full episode?
Only when they are included in the written scope. We specify the number and kind of additional outputs, creative work and production responsibilities.
Can we start with strategy before committing to production?
Yes. You can begin with a channel audit or strategy engagement, then decide how to produce the agreed direction with your team or ours.
Tell us what you want to make.
Tell us about the channel or idea, the team you have and where you need help. We’ll discuss the scope on a 30-minute call.
Book a 30-minute call rishwajeet@machinehouse.media