A matchday ends, and what is left is the final score.
Anyone who was not in the hall or at the pitch sees one number in a table. The work in training that led up to it, the people who keep the club running, the noise in the stands: without video, none of that survives the weekend. A sports video turns a fixture into material you can keep working with across the whole season, in your club’s channels, in conversations with sponsors and in the recruiting you do at youth level.
It fits clubs, leagues, tournaments, individual athletes, and brands that are active in sport. So far I have filmed American football and football, in Vienna, in Schwechat and in the United States: a club across two training days, one player in a short documentary, and a tournament over a single evening.
I am based in Vienna and shoot across Austria and abroad. Travel costs appear as their own line in the quote instead of disappearing into a flat rate.
And when it does not fit: If you need a live broadcast or a full game recording with commentary, I am the wrong call. That needs a crew with a vision mixer and several fixed camera positions. I shoot to tell a story, not to cover a match.
If your occasion is a one-off tournament with an audience and what you want afterwards is a recap, that is closer to an event video. If you need material for your channels regularly across the season rather than once a year, ongoing content is the better route.
And if the goal is to explain the organisation behind the team to a sponsor or a partner, that is a corporate video. A matchday shows a game, not an institution.
Most sports videos show highlights and nothing else.
A cut of the best plays with music over it works for the people who were at the game. They recognise the situation and they know why that one pass mattered. Everyone else sees people in kit doing something whose meaning they cannot read. A highlight clip is a reward for the audience you already have, and it is not an invitation to the audience you still want: new members, parents of youth players, sponsors, spectators at the next home game.
The second problem is timing. Sport runs on a fixture list, and a video from last weekend is competing with the next result two weeks later. If a video is tied to a date, that has to be settled before the shoot, otherwise it turns out well and still arrives late. So I ask in advance which video has to be out and when, and plan the edit backwards from that.
Neither problem can be repaired in the edit. Both get decided beforehand, in a conversation of about ten minutes: who is this video for, what should that person do after watching, and what date does it have to be online. Those three answers determine what I film on the day and what I deliberately leave out.
I film the work, not only the result.
I shoot on my own, at the touchline, in training and in the locker room. That is not a compromise, it is the reason the footage works: no setup that interrupts the session, no crew standing between a coach and the team. I get to places where a bigger unit would be in the way, and the people in front of the camera stay themselves.
When a tournament is too big for one person, when several pitches run at the same time or when two things have to be filmed in parallel, I bring in support. I tell you that beforehand and it is itemised in the quote instead of turning up as a surprise on the invoice.
What I need from you is access and a schedule for the day. Which parts of the training ground, the touchline and the locker room I am allowed into has to be cleared by your club or the organiser.
The interesting part happens midweek.
With the Vienna Knights, the American football club from the west of Vienna, I filmed two training days and no game at all: the open practice in September 2025 and the first training camp in February 2026, ahead of the club’s first AFL season in twenty years. Those two shoot days produced eight videos for social media, built on drills and the way the squad works together rather than on a scoreline.
The short documentary about Luca Wolf is about training, doubt and leaving, on the way from Vienna to the Tennessee Volunteers. The film has to make sense to someone with no interest in American football. That is where the value sits.
How a project runs.
You send me your project
A few lines through the form: which sport, which date, which venue and what should happen with the material afterwards.
An answer within 24 hours
First thoughts, an estimate of the budget and whether I am free on your matchday or training date.
A short call
Ten to fifteen minutes on the run of the day, on access to the locker room and the touchline, and on which videos are needed at the end.
The shoot
I am on site as long as it takes. Then editing, colour grading and sound design, delivered seven to fourteen working days after the last shoot day.
What is left of a matchday.
On request: photos from the same day, a longer version for the website and for sponsor documents, subtitles, or a faster delivery when a video is tied to a date. That gets fixed before the shoot so I can film towards it on the day.
Delivery comes in two aspect ratios: landscape for the website, YouTube and sponsor documents, vertical for Instagram, TikTok and stories. The finished files arrive as a download.
- Filming on site: touchline, training and locker room
- One main video, as a rule around 60 seconds
- Several short vertical clips for Instagram and TikTok
- Editing, colour grading and sound design
- One revision round per video, always included
- Delivery seven to fourteen working days after the last shoot day
What a sports video costs.
I do not publish a separate price for sports video, because a single matchday and a whole season are two different jobs. Work instead with the two figures already published for the event video and for ongoing content. Both are guide prices, not fixed prices.
What moves the price:
- how many matchdays or training sessions get filmed
- how many videos should come out of them
- how quickly they have to be finished
- whether photos are needed as well
- whether the shoot is outside Vienna, with travel costs itemised in the quote
What you do not pay extra for: the first revision round per video is always included, and the delivery window of seven to fourteen working days after the last shoot day applies without a surcharge.
Write me which sport it is, how many dates are involved and what should happen with the videos afterwards. You get a concrete estimate for your case within 24 hours instead of a price range.
Three projects from sport.
sports video.
There is no separate published price for sports video. A single matchday or a tournament works out like an event video: from around 1,400 EUR net for one video of about 60 seconds plus three short social media clips, including filming, editing, colour grading and sound design. Covering a season works out like a monthly package for social media content: from around 1,300 EUR net per month for four to five videos. Both are guide prices, not fixed prices.
The standard is seven to fourteen working days after the last shoot day. If a video is tied to a date, say so beforehand: the recap of the Vienna World Cup at the Multiversum Schwechat was online 48 hours after the tournament. One revision round per video is always included.
So far American football and football, for a club, for an individual player and at a tournament. The way I work does not depend on the sport: what I need beforehand is the schedule for the day and access to the touchline, the training ground and the locker room. Indoor and outdoor both work.
Yes, and that is often the more interesting part. With the Vienna Knights I filmed the open practice and the training camp and no game at all. What I am allowed to film gets cleared in advance, because access to the locker room, the training ground and the touchline has to be approved by your club or the organiser.
As a guide, one main video of around 60 seconds plus several short vertical clips. With the Vienna Knights, two shoot days produced eight videos for social media. The exact number gets fixed before the shoot so I can film towards it on the day.
Yes. I am based in Vienna and shoot across Austria and abroad. The short documentary about Luca Wolf was filmed in Austria and in the United States, and the Vienna World Cup tournament took place at the Multiversum Schwechat. Travel costs are itemised in the quote.
Tell me about your season.
Which sport, which dates, which venue and what should happen with the material afterwards. You get an answer within 24 hours with a concrete estimate.