This VFX Contract sits alongside the accepted proposal and covers the VFX shot finishing I do for you on this project. It’s written so shots can move off your timeline, through comp, and back into your edit with clear notes and no surprises. By signing the proposal or asking me to start, you’re agreeing to the terms below, including how I take in plates, how I handle reviews, and how I bill and hand over finals.
What I’m doing
I’ll complete the VFX shot finishing described in the accepted proposal, for the shots you’ve agreed with me on the shot list. That work is delivered shot-by-shot in the formats we confirm before finals, so each shot drops back into your cut cleanly.
What you get is listed below. To start any shot, I need a shot list with timecode in and out, an edit reference, and the original plates. If you have an EDL or XML, send it and I’ll confirm handles, frame rate, and naming before I pull plates and begin.
* Finished shots for edit * Shot-by-shot handback notes * Matte exports as needed * EXR sequence option * Nuke script handoff option * Review movies
Payment
To book the work, I invoice 25% of the agreed price when the proposal is signed. I schedule the project once that booking invoice is paid. I invoice the remaining 75% when the finished work is handed over, meaning the final deliverables for the agreed shot list are ready for you to download or receive.
Each invoice is due within 14 days of the invoice date. If an invoice goes overdue, I’ll pause further work and hold any new deliveries until the account is back up to date. If a deadline is tied to an unpaid invoice, you accept that the schedule may slip by the length of the payment delay.
Review notes
I include two rounds of revisions per shot. A “round” means you send one consolidated set of notes for that shot against the current cut and reference, and I address those notes and send an updated review movie or updated deliverable for approval.
If you send notes in fragments over several days, I’ll ask you to roll them into the next round so I can keep momentum across the shot list. If the edit changes after I’ve started, I’ll tell you what can be re-used and what needs rework (re-roto, re-track, re-render, re-grain). Anything beyond the agreed rounds or shot list is quoted and approved in writing before I continue.
Who owns what
Once you’ve paid the invoices in full, you own the finished outputs I deliver for your project, in the formats we agreed (for example editorial renders, EXR sequences, and any matte exports included in the delivery). You can use those outputs as part of your program, campaign, or film without coming back to me for permission.
I keep ownership of my working files, project setups, templates, scripts, caches, and tools, even if I hand over a Nuke script option as part of delivery. A script handoff is for your pipeline continuity, not a transfer of my underlying methods. I’m not required to supply working files unless we agreed that in writing.
Portfolio use
I may show finished shots from this project in my portfolio, reel, website, or pitch deck, because that’s how I prove what I do. If the work is under embargo, unreleased, or you need it kept private for any reason, tell me in writing before first delivery and I won’t post it.
If you’re fine with portfolio use but need timing control, send me the release date or the review window you’re working to, and I’ll hold off until that point. I won’t share plates, offline cuts, client notes, or anything that exposes your wider edit. When I do show the work, I’ll keep it to the final shot and basic context only.
Problems and limits
I’m responsible for delivering the work I agreed to, in the formats and colour specs we confirmed, and for taking reasonable care with the media you send me. If something I deliver is wrong because I missed a spec we confirmed in writing (frame rate, colour space, naming, handles), I’ll fix it as a priority.
I’m not responsible for issues caused by source material, last-minute cut changes, or missing information, like plates with heavy compression, broken timecode, mismatched colour management upstream, or reference that doesn’t match the current cut. I also can’t cover knock-on losses like missed client bookings or lost ad spend. If a problem comes up, tell me quickly and I’ll propose the fastest fix and any cost impact before I proceed.
Ending the project
Either of us can end the project by giving written notice. In that notice, I’ll ask you to confirm what you want handed over and what you want me to stop working on, because a clean stop matters more than a rushed one.
You pay for the work I’ve completed up to the end date, including any shots in progress that can be packaged up for handover. After that invoice is paid, I’ll deliver what’s done to that point in the most usable form available (for example latest renders, notes, and any agreed files that are ready). If the booking payment has been made and you cancel before I start, I’ll either apply it to a rescheduled start date or credit it against time already held and admin already done, based on what’s actually occurred.
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