The shoot day is a logistics problem. Camera operator, sound, lighting, the kit itself and a location with an access time: booked in separate places, one of them will eventually be promised twice.
Changes cost more here than in any other creative work. A re-edit to fit new music is an afternoon, but a client who decides the location was wrong means going back out with a crew — so what each round actually involves has to be written down before it is agreed.
Deliverables multiply after the edit is approved. Different lengths, different aspect ratios, subtitles and versions for each platform: a checklist per project prevents the week of small requests that follows delivery.
Storage is a cost that never ends. Raw footage from a job three years ago still occupies space, and deciding what is kept, for how long and at whose expense should be a policy rather than an accident.