Why a price is hard to name in one line
People often ask me for a single figure for eyeline and camera presence coaching, and I understand why. A budget needs a number. The honest difficulty is that the work covers several separate things: where you look, how you sit or stand, and how you are framed in the shot. Two learners can arrive with very different starting points. One has a steady gaze but slumps in the chair; another frames well but keeps glancing at a second screen.
So the cost follows the work that is actually needed, not a fixed package that everyone squeezes into. This article walks through the factors that move the price up or down, so that when you send an enquiry you know which details to mention. I am not quoting figures here, because a fair number depends on your situation, and the quickest way to get one is to describe what you record and how often.
Individual session or a group booking
The biggest driver is whether you come on your own or with colleagues. An individual session gives you the full attention of one coach for the whole time. We watch your recordings together, and every comment is about your face, your desk and your habits. That depth is what you pay for, and it suits people who present alone, such as a founder recording weekly updates.
A team workshop spreads the same preparation across several people. Colleagues who record training videos or host webinars together often share the same problems, such as a camera set too low or a habit of looking at the chat window. Working through those as a group changes the cost per person, though the workshop still needs its own planning around your equipment and your room.
- One person: full attention, personal recordings reviewed
- Several colleagues: shared exercises, shared setup problems
What happens before the session
Some of the cost sits in preparation that you never see. Before we meet, I like to look at a short sample of your recorded video or a clip from a live stream. Reviewing it ahead means the session time goes to practice rather than to diagnosing what is wrong. If you cannot send a sample, we record one at the start, which uses part of the session.
You also have a part to play. Knowing the lens you use, the screen you read from and the room you record in saves real time. A learner who arrives with a clear description of their setup spends less on discovery and more on improvement. That is one of the few places where the price is partly in your own hands.
- A short recording or stream clip, if you have one
- A note on camera, screen and lighting position
Recorded review and written feedback
Feedback is part of what you take away, and it takes time to produce well. After a session I send notes on what we covered: where your eyes drifted, how your posture changed over the length of a take, and which framing worked best. These notes are written for you, not copied from a template, and they point to the moments in your own footage.
The more footage we review, the longer this takes, which is why the volume of material affects the price. A single ten-minute recording is quick to go through. A month of weekly videos asks for more careful comparison. Tell me roughly how much you want looked at, and we can agree a sensible amount rather than reviewing everything by default.
Practice materials you keep
Each session ends with exercises you can repeat on your own, such as a lens-focus drill, a posture check before you press record, and a short framing routine for your desk. Preparing these for your particular habits is part of the work, and the pack is yours to keep and reuse long after the session ends.
The cost does not rise much with the number of exercises. What matters is whether the materials are built around you or are generic. I prefer the first, because a drill that fixes your habit is worth more than ten that fix someone else's. If you already practise well on your own, we can keep the pack short.
- Lens-focus and posture drills
- A framing checklist for your own desk
- Short routines to repeat before recording
How to get a sensible estimate
The most helpful thing you can send is a short description: who you are, what you record or stream, how often, and what bothers you on screen. Add whether you want an individual session or a workshop for colleagues, and roughly how many people. With that, I can say what the work involves and give a figure that reflects it.
If you are unsure, say so. Many learners are not certain whether their problem is eyeline, posture or framing until we look at a clip together. A first conversation costs nothing to start, and it is better to agree the scope openly than to buy more than you need.
The price of eyeline and camera presence coaching follows a few clear things: whether you come alone or with a team, how much preparation your setup needs, how much footage we review and how personal the practice materials are. None of it is hidden, and you can influence most of it by describing your situation well. Send an enquiry with a few lines about what you record, and we will talk through a plan that fits.