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Enter the number of assets you are buying, the rate you agreed per asset, the cut-downs and revisions on top, then your own licence and exclusivity uplifts. The calculator totals the order and divides it by the files you end up with and the months you may use them for. Every rate here is one you typed.
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A UGC order is a number of finished files. Cut-downs and hooks are files too, and they are usually where an order grows without anyone noticing. The calculator counts heroes and cut-downs separately, adds them and divides the whole cost by the real file count rather than by the headline asset number.
Licence and exclusivity uplifts are entered as percentages of the content fee, and every result row names the amount they were applied to. Nothing is applied to a base the page picked on your behalf, so if your contract works differently the mismatch is visible rather than buried.
A fee for twelve months of use and the same fee for three months are not the same deal. Dividing the total by the term gives you a cost per month, and dividing again by the file count gives a cost per file per month. That is the only unit that compares two orders with different terms fairly.
When you commission content from a creator and post it yourself, you are buying two separate things. One is the work of making the files. The other is permission to use them. People price the first and forget the second, then discover six months later that the permission ran out while the ads were still running.
Those two things behave differently. The cost of making the files is fixed once the files exist. The cost of permission scales with where you want to run it, for how long and whether anyone else may use the same creator. Keeping them apart in your own arithmetic is the single most useful habit in pricing this kind of work.
Plenty of quotes arrive as one number. That is fine as a price and useless as a plan, because when you later want to extend the term or add a channel you have no basis for what the extension should cost. If you can get the quote broken into content and rights, do. If you cannot, split it yourself into the two boxes in whatever proportion the conversation implied and treat your own split as a working assumption you wrote down.
This calculator makes the split explicit by asking for the uplifts as percentages of the content fee. That is not a rule about how rights should be priced. It is a structure that makes the question visible, and it means the uplift amount moves automatically when the content fee moves, which is usually how these negotiations actually go.
If your deal genuinely includes perpetual worldwide rights at no extra cost, set both uplifts to zero. The calculator makes no assumption and adds nothing you did not enter.
Ask how much a UGC order cost and most people will tell you the rate per asset. Ask how many files they received and the number is usually much larger, because the order grew in cut-downs, hooks and aspect ratios after the rate was agreed.
The calculator counts those. You enter the number of hero assets and the number of extra cut-downs per asset, and it reports the total file count alongside the total cost. The cost per finished file is almost always a lot lower than the rate per asset, and knowing the gap changes how you plan the next order.
Revision rounds are priced separately because they are not files. They are passes over files that already exist, and they are the line that most often turns a tidy order into an awkward one. Entering them explicitly makes you decide how many rounds the rate covers before the work starts, which is a better conversation to have early.
The cost per hero asset and the cost per finished file are both reported, and the difference between them tells you how much of the order is variation. An order that is mostly cut-downs is cheap per file and may well be the right shape if you are testing creative. An order with no cut-downs is expensive per file and gives you nothing to test with. The arithmetic does not prefer either. It just makes the trade legible.
Fill the boxes you have, leave the rest blank and the total with all its unit costs appears at once.
Each line names the numbers it multiplied or divided, so the whole order can be checked by hand.
There is no asset price anywhere on this page. The calculator arranges what you agreed and nothing more.
Use the cost calculator for a whole programme, the gifting calculator for product seeding and the whitelisting calculator for paid access.
The arithmetic runs in your browser, so no rate and no creator name leaves the page.
Three boxes on this calculator exist because of the same problem. An order is agreed at a rate per asset, then the brief asks for more than one asset's worth of work per asset, and nobody re-prices it until the invoice arrives.
Cut-downs multiply by the asset count, so a small per cut-down rate turns into a real number quickly. Two extra cuts on ten assets is twenty extra files, and the calculator shows both the file count and what those files cost as their own line.
The raw footage box is a one-off rather than a per asset cost because that is how it is usually sold, as access to everything shot rather than to the material behind one file. Whether you need it depends entirely on whether you intend to re-edit later. If you do, buying it at the start is a different cost from commissioning new edits afterwards, and the calculator lets you price both options and look at them side by side.
None of these questions have a standard answer and this page does not offer one. They have an answer in your contract, and the only job of the calculator is to make sure every answer you gave ends up in the total.
A licence term is the number of months you may use the content. It is not how long the campaign runs and it is not how long you expect to use it. It is what the contract says, and when it ends the files have to come down even if they are still working.
Because of that, the honest unit cost of UGC includes the term. The calculator divides the total by the months you entered to give a cost per month, then divides by the file count as well to give a cost per file per month. The second number is small and extremely useful, because it is the only figure that lets you compare two orders with different file counts and different terms.
Suppose you are offered the same order on a short term or a long one, with the longer term costing more. Comparing the two totals tells you very little. Comparing the cost per file per month tells you whether the longer term is being sold to you at a discount or at a premium, and that is a question you can actually answer.
The same unit helps at renewal. If the content is still performing when the term ends, the choice is between paying to extend and paying to commission new files. You already know what a month of the existing files costs, so the extension price has something to be measured against. Without that figure every renewal is negotiated from scratch.
One caution. A cost per file per month is an average across the whole order, and the files will not perform equally. If one hero carried the campaign and four did nothing, the average understates what the useful file cost you. Use the figure to compare orders and terms, not to judge individual pieces of content.
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Exclusivity is a promise that the creator will not do similar work for someone else, usually a competitor, usually for a stated period. It is priced as an uplift because it costs the creator income they would otherwise have earned, and how much income that is depends on the creator rather than on anything general.
The calculator takes it as a percentage of the content fee and keeps it as its own row so you can see what the promise is costing. It supplies no figure, because the figure is a negotiation between you and one person about their own likely earnings.
That last point is where the arithmetic earns its keep. Put your exclusivity uplift in the box and look at what it adds to the total and to the cost per file. If the number is small, the promise is cheap insurance. If it is a large share of the order, it is worth being specific about what you are protecting and for how long, because you are paying a real amount for a clause that produces no content.
The rights row combines licence and exclusivity so you can see all the money that buys permission rather than files. On some orders that row is a small addition. On others it is the larger half of the spend, and seeing that stated is often the first time anyone in the room has noticed.
It does not know what an asset should cost, what a cut-down should cost, what a licence uplift should be or what exclusivity is worth. There is no price list in this page and none in the script behind it. Every number in the result traces to a box you filled in.
This is the part of the subject where invented figures do the most damage. UGC rates depend on the creator, the format, the shoot complexity, the market, the volume and the rights, and the spread between two legitimate quotes for the same brief can be very large. A page that offered one number would be confidently wrong for nearly everyone reading it.
If you have none of that yet, the useful move is to run the calculator twice with two different asset rates you consider plausible and see how far the total moves. That tells you how much of your uncertainty sits in the rate and how much sits in the structure of the order, which is worth knowing and does not require anyone to make a rate up.
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All the figures in this example were made up for the purpose. None of them is a rate anyone quoted, and your own will replace every one of them.
Say you are buying 10 hero assets at $180 each from 4 creators, with 2 extra cut-downs per asset at $45 each and 3 extra revision rounds at $60. On top of that there is a $250 raw footage add-on and $40 of product per creator at your own cost. The licence runs 6 months with a 25 percent uplift, and exclusivity adds 15 percent.
Read the two headline units against each other. The rate agreed was $180 per asset, but the order delivers 30 files for $4,442, so each file costs $148.07. The cut-downs are doing a lot of work for the money. At the same time the rights cost $1,152, which is 25.9 percent of the order, so a quarter of the spend bought permission rather than content.
Both of those are useful before you place the next order. If you want more files, more cut-downs are the cheap way to get them. If you want a cheaper order, the rights line is where the money is, and the question is whether you need six months and exclusivity or whether a shorter term would do. The calculator will price either version in a few seconds, which is the point of having it.
The calculator is free and needs no signup. When the order is priced and you need creators who can actually shoot it, the full platform adds discovery, audience data and authenticity scoring.
This page will not tell you, on purpose. What a UGC asset costs depends on the creator, the format, how complex the shoot is, the market, the volume you are ordering and the rights you want, and two reasonable quotes for the same brief can be far apart. The calculator prices the order you were actually quoted and divides it into useful units. If you have no quote yet there is nothing for it to work on, and any page offering you a single number would be guessing.
The content fee pays for making the files. The licence uplift pays for permission to use them, which depends on where you run them, for how long and whether anyone else may use the same creator. The first is fixed once the files exist. The second scales with what you ask for. Keeping them apart in your arithmetic is what lets you price an extension later instead of renegotiating the whole deal from scratch.
That is a contract question rather than an arithmetic one, and the two phrasings give very different totals on a large order. This calculator asks for cut-downs per asset and a rate per cut-down, so it multiplies the asset count by the cuts by the rate. If your quote works some other way, convert it to that shape before entering it and check the cut-down row shows the amount you expect.
Because a fee for three months and the same fee for twelve are not the same deal, and comparing totals hides that completely. Dividing the total by the months gives a cost per month, and dividing again by the file count gives a cost per file per month. That last unit is the only one that compares two orders with different file counts and different terms fairly, and it gives you a basis for judging a renewal price when the term ends.
By asking the creator, because the cost of exclusivity is the income they are agreeing not to earn and only they know what that is. What makes it expensive is how broadly the category is defined, how long it runs and how much of their work comes from your category. The calculator takes whatever uplift you agreed as a percentage of the content fee and shows what it adds, so you can see what the clause costs before deciding you need it.
Yes. It is free and needs no signup or card. The arithmetic runs entirely in your browser, so no rate and no creator name is sent anywhere. It works alongside the cost calculator for a whole programme, the gifting calculator when you are sending product rather than commissioning content and the whitelisting calculator when you also want to run ads from the creator's handle.
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