Indermaur Media icon representing photography and video production

What It’s Like to Work with
Indermaur Media – Client Q&A

Over the years, I’ve been asked just about every production question you can imagine—some practical, some logistical, and some that reveal the very real stress of trying to pull off a great photo or video production. I welcome these questions. In fact, the more we talk up front, the smoother the process goes.

Here are some of the most common things I get asked—and my honest take on each one.

Multimedia Projects - Photography & Video

How we plan, produce, and deliver high-quality visuals across photography and video—together or separately.

  • I produce a wide range of corporate and commercial content—everything from executive portraits and headshots to multi-day video productions for training, marketing, and internal communications. Whether we’re capturing authentic moments in a biotech cleanroom or crafting a product launch message for a CEO, I work with teams to create visuals that match the brand and message.

    I also offer short-form video options for social media and quick updates, along with longer documentary-style storytelling when needed. Every project is customized based on your goals, audience, and distribution platform.

  • Absolutely. While many clients hire me for both photography and video together, I’m just as comfortable working on photography-only or video-only projects. Whether it’s a single headshot session, an all-day video shoot, or a multi-day production with a full team, I tailor each project to what you actually need—nothing more, nothing less.

    If you already have a team in place and just need one piece of the puzzle, I’m happy to jump in and collaborate. Flexibility is a big part of how I work.

  • Yes—and it’s one of my specialties. Many clients hire me to cover both photography and video within the same project, often using a flexible day-rate structure that allows for a mix of services.

    This could mean:

    • Capturing headshots and candid workplace imagery

    • Filming leadership messages or recruiting content

    • Documenting a full-scale event with photo and video coverage

    • Or creating visual assets for websites, annual reports, and social platforms—all in one shoot

  • Yes. I regularly work on video projects where I direct and record remotely—whether it’s for a scripted message, a compliance course, or unscripted interview content. I guide subjects through everything from setup and framing to wardrobe and lighting. In many cases, I project a teleprompter directly onto their screen and coach them through delivery.

    For projects with multiple participants, I’ve shipped pre-configured camera kits with matching microphones and lighting to maintain consistent visual and audio quality across all locations, whether they’re in New York or New Zealand. I’ve even captured professional headshots remotely by directing pose, posture, and setup, sometimes extracting a usable image directly from the video footage.

    Remote doesn’t mean reduced quality. We can maximize the quality potential and it just means smarter planning and guidance from start to finish.

  • Yes, I can. With decades of experience in both photography and video, I bring a producer’s mindset to every project—keeping things organized, running smoothly, and focused on the client’s goals. If you already have crew or talent in place but need a producer to manage logistics, timelines, and communication, I’m happy to step into that role and make sure your production stays on track.

  • I use professional Canon R5 Mark II mirrorless cameras for both photography and video. I also have professional lighting and sound equipment. When appropriate, I also use the iPhone. Especially for certain social content or when speed/budget calls for it. It’s not about the gear—it’s about using the right tool for the story.

  • Yes. I offer a professional teleprompter setup for clients who need help delivering scripted messaging on camera. Whether you’re filming a CEO announcement, training content, or a marketing piece, the teleprompter helps keep your delivery smooth, confident, and consistent.

    It’s especially helpful when we’re working under tight timelines, or when the message needs to be precise. I’ve coached plenty of first-time on-camera speakers through the process—and with the right pacing and setup, it often feels more natural than people expect.

    If you’re unsure whether you need one, let’s talk through it—sometimes it’s essential, and sometimes we keep things conversational without it and speaking from the heart.

  • Yes. I’m happy to share my experience and offer insights into wardrobe choices and locations that will photograph or film well. I’ve helped countless clients refine their clothing selections and background environments to best reflect their brand and message. If needed, I also work with professional wardrobe stylists to help elevate the overall look.

  • I always recommend wearing something that makes you feel confident and comfortable—but there are a few go-to tips I’ve learned over the years. Jewel tones like emerald, sapphire, or burgundy are almost universally flattering and photograph well. I usually suggest avoiding solid black or pure white, which can either wash you out or get lost in a neutral background.

    Well-fitted clothing with subtle texture works great, and simple accessories can help add personality without distraction. If we’re shooting on a busy background, it’s smart to steer clear of complex patterns—unless we’re going for something bold and intentional.

    I’ve worked with personal stylists on productions, and I’m happy to help guide wardrobe decisions based on the setting, brand tone, or visual goals. And yes—always bring a backup outfit. Just in case.

    You can read more with this blog.

  • The first day of production is about setting the tone for a smooth and successful shoot. We usually begin with a 60–90 minute window to meet key players, set up equipment, and walk through the space together. This allows us to confirm the schedule, scout locations one last time, and talk through how the day will flow.

    During this time, I’m focused on making everyone comfortable—especially on-camera subjects—and ensuring we’re all aligned on creative direction and priorities. From there, we move into the shoot with clarity and momentum. My goal is always to create a calm, organized, and collaborative environment so we can capture your story with intention and ease.

Clients & Capabilities

Who we work with, where we go, and how we scale projects to match your vision.

  • I’ve worked across a wide range of industries—biotech, finance, higher education, food & beverage, health and wellness, manufacturing, and beyond. Each industry has its own visual language and communication goals. I take time to understand the message behind the visuals, whether that means gearing up for cleanroom photography or capturing the energy of a local small business.

  • Yes. I scale my team based on the needs of each project. For some shoots, it’s just me and my camera. For others, I bring in trusted collaborators—DPs, stylists, sound engineers, makeup artists, and more. I’ve built teams of up to 50 people across multiple states, and I’m just as comfortable running a one-day shoot as I am managing a multi-location production.

  • Absolutely. I’ve traveled across 47 states and more than 15 countries for photo and video productions. Whether it’s flying to an international office, driving across New England, or coordinating with your in-house or remote team, I’m ready to go where the story takes us.

  • Yes—both. I have experience working with a wide range of clients, from solo entrepreneurs and local small businesses to national organizations and global corporations.

    For small businesses, I understand the importance of working within tight budgets, making the most of each shoot, and providing clear guidance throughout the process. I often wear multiple hats—photographer, videographer, director, and even occasional tech support—to help bring your vision to life.

    For larger companies, I’m comfortable navigating approval processes, working with communications teams, aligning with brand guidelines, and managing multi-stakeholder feedback. I’ve worked with international teams, led scalable production workflows, and built crews across multiple locations.

    No matter the size of the client, I bring the same mindset: be prepared, be flexible, and deliver strategic visuals that support your goals.

  • Yes. For clients with recurring needs—monthly content, quarterly campaigns, or seasonal updates—I offer customizable retainers that include photo, video, editing, and even short-form social media deliverables. It’s a great way to stay visually consistent and keep up momentum without starting from scratch every time.

  • No. I bring the studio to you. I regularly set up portrait sessions in conference rooms, lobbies, or other onsite locations that are convenient for your team. This makes the process faster, more comfortable, and often more efficient—especially when photographing multiple people in one day.

  • Yes. I’ve curated a collection of case studies that highlight a range of photography and video projects. They offer a clear look at my process, the creative approach, and the results delivered for each client. You can explore the full list here.

Timeline & Workflow

Answers about turnaround times, delivery expectations, and how we keep projects on track.

  • It’s essential. I don’t just show up with an iPhone and wing it—every successful project starts with strong communication and a clear plan. While I’m flexible and can adapt on the fly, the best results come when we plan ahead. Pre-production allows us to align on goals, schedule, crew, and visuals—and helps avoid last-minute surprises. I often create a detailed production guide that keeps everyone on the same page throughout the shoot day. The more we communicate upfront, the smoother the entire process runs.

  • Most photography galleries are shared within a week. From there, clients select their favorites for retouching. For video, I’ve delivered final cuts in as little as a week when deadlines require it—but most projects take longer depending on complexity and feedback. Usually the first round of a video edit is shared within 2-weeks. If a project pauses for weeks or months, we may need to revisit decisions, rewatch footage, and realign—which can add time and cost. Keeping a steady pace helps us stay efficient and creative.

  • Final photos and videos are delivered digitally via secure download—usually through Dropbox, which is my everyday workflow. That said, I’m flexible. Many clients prefer using their internal platforms, and I’m happy to accommodate. Whether it’s Kiteworks, OneDrive, Google Drive, or something else, I’ve likely worked with it.

    For photography, I provide an online gallery where you can review, download, and leave comments on selected images.

    For video projects, I use a review platform (typically Dropbox) that allows you to comment directly on the timeline, making collaboration smooth and efficient.

  • Yes. I’ve delivered select images the same day for social media, press releases, or internal communications—sometimes even before leaving the location. Depending on the project, I may send a few selects immediately, or we can have a digital tech on-site to process and deliver assets in real time.

    If you have urgent needs, let’s talk about them up front. Same-day delivery can affect the workflow and may require adjusting the crew or production plan.

  • Yes, in the right situation. If we plan for it, I can either deliver RAW video footage immediately or work with my team to edit and release a finished short-form video on the same day. This is especially helpful for event coverage, internal updates, or social media campaigns with tight timelines.

    As with photography, same-day video delivery requires advanced planning. We’ll want to align early on expectations, deliverables, and whether additional crew is needed to make it happen.

  • Yes. I regularly work with in-house editors and outside teams. I’m happy to hand off files, organized and ready to go. A small prep/transfer fee may apply, and we’ll discuss that in advance.

  • No need to apologize. I’m used to fast-paced and slow-moving projects alike. But when we lose momentum, it does slow things down. When everything is fresh, the story flows and decisions are easier. Pauses mean we often need to reorient—so staying in rhythm is always ideal.

  • Feedback is essential—and welcomed—throughout the production. I typically build in up to three formal rounds of edits during the post-production process, but in many cases we may review and revise as we go, especially after each round.

    Early alignment is key, and I’m happy to schedule calls or creative reviews to ensure we’re on the right track. I’ll provide rough cuts or proof galleries depending on your project, and your feedback will directly shape the outcome.

    At the end of the day, my goal is to deliver work that aligns with your goals and vision. Let’s stay in touch as we go so the finished piece is something we’re both proud of.

  • I archive all completed projects both in my office and in the cloud. While I don’t guarantee indefinite storage, I do my best to ensure everything stays organized and accessible for future use. Many clients have come back months—or even years—later for updated versions or new edits, and I’ve been able to deliver.

  • Yes, absolutely. Clients often return for updated versions of past projects, new formats, or slight revisions. Depending on how long it’s been and where the files are stored, there may be a small archival recovery fee. But I’m always happy to reopen a project and help you get what you need.

Team, Talent & Tools

Details on collaborators, gear, drone capabilities, and how we build the right crew.

  • Yes. Whether you’re clear on your vision or just know you need “something visual,” I can help guide you. From choosing between photo or video to deciding how best to showcase your message, I’ll ask the right questions to uncover your goals—and shape a production plan that fits.

  • That’s entirely up to you. Some clients prefer to hand off the creative direction after providing key details—such as brand guidelines, goals, and tone—while others collaborate closely throughout the process.

    I’ve worked with clients who simply share a few criteria and give me full creative freedom within those parameters. I’ve also partnered with Art Directors and internal teams, fully integrating into their workflow to help bring their vision to life.

    I’m a team player. I don’t approach projects with a “my way or the highway” mindset. Ultimately, I want to deliver visuals that make you proud. And if there’s time, I’ll often capture a few creative extras that might go beyond the expected—because you never know what might resonate best.

  • Clients tell me I bring calm, clarity, and creativity to shoots. Whether I’m working solo or with a full crew, I aim to make the day smooth and productive. I take pride in being organized, professional, and adaptable. People often forget the camera is there—and that’s when we get the good stuff.

  • It starts with just me. From there, I scale the team based on your project’s vision, needs, and budget. I often bring on an assistant (or grip), or a Director of Photography (videographer) when I’m focusing on directing, producing, or photography. Depending on the complexity of the shoot, I may add hair & makeup stylists, wardrobe consultants, location scouts, producers, acting talent, and more.

    I’ve assembled crews of up to 50 people for large productions. Before I provide an estimate, we’ll talk through your goals and expectations. From there, we can expand or streamline the crew to get the most out of your investment while keeping production quality high.

  • In most cases, yes. Assistants help keep things moving, catch visual details, and manage logistics. I’ve done many shoots solo, but having an assistant can be the difference between a good shoot and a great one. Especially if plans shift on the fly, an assistant keeps us on track.

  • Often, yes. Especially for executive portraits or on-camera interviews. A stylist not only polishes the final look but also helps the subject feel confident and relaxed. During the shoot, they act as a second set of eyes focused on appearance, freeing me to focus on lighting and direction.

  • Yes. I’m an FAA Part 107 licensed drone operator. Many of my video collaborators are also licensed. We have access to a variety of drones to capture aerial imagery for both photography and video. Whether it’s a facility flyover, dramatic landscape, or overhead event coverage—drones elevate storytelling.

  • Yes. I’ve scouted locations across the U.S. for indoor and outdoor visual productions. Whether you need an industrial space, a sunlit studio, a specific style of bridge, or a quiet outdoor setting, I can either find the right spot or make the most of your existing environment.

  • Yes. I help shape messages for videos, especially for branding and executive communication. If the script needs higher-level development, I’ll recommend a trusted writer from my network. I build teams that fit the project’s needs and goals.

  • Yes. I send out a monthly newsletter where I highlight one of my recent blog posts, often diving into the behind-the-scenes of photo and video productions, client projects, or creative challenges I’ve tackled. I also share thoughts from my personal life of managing my 12-acre property and the creative inspiration that comes from time spent outdoors. It’s a mix of professional insight and personal storytelling.

    You can view past newsletters here or sign up on my website.

  • I use Dropbox Replay to keep the review process simple and organized. You can leave timecoded comments, draw on frames, compare versions, and keep all your notes in one place. I created a short guide that walks through everything step by step.

    Visit the Video Review Guide.

Rates & Planning

Guidance on proposals, deposits, cancellations, and how we work within your budget

  • My rates are typically based on a half-day or full-day structure, and they vary depending on the scope and production value of the project. For example, a short-form video filmed with an iPhone and natural light will likely be priced differently than a full-scale production using professional mirrorless cameras, dedicated audio gear, lighting setups, and additional crew.

    Every project is a little different, which is why I build proposals around your specific needs, goals, and timeline. I’m happy to walk through options and recommend the best approach based on your budget.

  • My pricing is primarily based on a day rate or half-day rate—not hourly. This structure allows for better planning, realistic pacing, and higher production quality. A half day is typically 3–4 hours, and a full day is up to 8–9 hours. Time beyond that may incur additional charges.

    While I’m flexible, I generally don’t recommend trying to squeeze a full day of production into a half-day—or condensing multi-day projects into one rushed session. For example, a project that truly needs 12 hours to execute properly will suffer if compressed into 8. You risk losing attention to detail, creative energy, and ultimately, the impact of your final deliverables.

    Proper pacing results in a smoother production and better visual storytelling.

  • Yes, and I’m very budget-aware. I often come in right on target. If a proposal comes back higher than expected, let’s talk. I’m open to adjusting scope or deliverables to align with your budget. I often deliver more than expected. But I also aim for fairness and transparency.

  • Check, ACH transfer, Visa, Mastercard, American Express—and yes, even crypto.

  • Most projects require a 50–75% deposit before production begins. The remainder is due before delivery, unless other terms are arranged.

  • I understand that schedules change—but because planning, crew scheduling, and equipment rentals often happen well in advance, cancellations or postponements can carry costs.

    If you need to cancel or postpone, I ask for at least 3 business days’ notice. If that happens, you’ll be responsible for any pre-production expenses incurred, plus 50% of the proposed fee. If cancellation happens with less than 3 days’ notice, the full project fee may apply.

    That said, if something unexpected comes up—like weather, illness, or travel issues—just reach out. I’ll always do my best to find a fair and flexible solution.

Travel & Location Details

Information on how we travel, what regions are considered local, and how location logistics are handled.

  • A “local assignment” is typically anything within a 2.5-hour drive from Providence, RI. This generally includes:

    • All of Rhode Island

    • Most of Connecticut, Massachusetts, and New Hampshire

    • Southern parts of Maine and Vermont

    In many cases, I can travel roundtrip in a single day. For more distant or early morning shoots, an overnight stay may be necessary. I plan accordingly to stay on schedule and budget.

  • Absolutely. I’ve worked in 47 states and over 15 countries. I fly, drive, and sometimes tow my Airstream to camp in locations where hotels are limited. I love the production process, especially on the road, and I’ve built and managed teams for national and international assignments.

  • It depends on the location. Some cities and states require permits; others don’t. I’ve pulled permits across the U.S. and can handle the paperwork when needed.

💬 Got a Question Not on This List?

Let’s talk. Whether it’s a small photo session or a large-scale video production, I’m here to help guide the process from idea to delivery.

Get in touch here or explore more at indermaurmedia.com

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Effective storytelling supported by clear,
efficient production

I work closely with teams to create photography and video that feel genuine, aligned with your goals, and built on clear communication.