There is no single day rate for a parkour performer, because the fee is shaped by several factors. Understanding them helps you budget a brief realistically.
Job type. A featured performer on a national TV commercial, a stunt-classified role, a brand content shoot and a live event are priced differently. The creative demand and the risk profile both matter.
Usage. For advertising, the usage licence, which territories, which media and for how long the work runs, is often a larger part of the total than the shoot day itself. This is negotiated per booking.
Experience and profile. An athlete with substantial production credits commands more than an early-career performer, because they de-risk the shoot.
If the brief needs finished content rather than talent alone, our parkour video and photo production service prices athletes, specialist camera operators and the edit as one production budget, and parkour consultancy can pressure-test the concept before costs are committed.
Time and logistics. Half-day, full-day and multi-day bookings differ, and prep or rehearsal days, travel and specialist requirements all factor in.
Movement Management prices each booking against these factors and confirms fees and usage in writing before the job is held. Send your brief through movementmanagement.co.uk for a quote.
What exactly are you paying for?
When you hire a parkour performer through an agency you are not simply buying eight hours of movement. The fee covers the performer's training, experience and physical conditioning; rehearsal and prep days; insurance and liability cover specific to the work; location recces and safety briefings where hazardous movement is involved; any bespoke choreography built for your brand; and agency commission, which is standard across entertainment talent. A day rate covers the shoot itself. Everything else is either negotiated separately or built into a project quote, and that is where producers most often get caught out.
Usage rights, buyouts, and why a day rate misleads
This is where cost confusion happens most. A performer quotes a day rate for the shoot. If you then licence a fifteen-second clip for a national television campaign, usage fees can easily match or exceed that day rate. A buyout, one flat fee covering all usage in perpetuity across all territories, flattens this into a single number but costs more, because the performer gives up future licensing income.
Digital and social only, with no broadcast, is much cheaper. Organic posts from your own brand account are often included in the day rate. High-volume syndication across paid ads, multiple accounts or partner platforms is a negotiation. Live events work differently again: you pay a day rate plus travel with no usage fees, but you may need multiple performers, longer prep and choreography tied to your brief. For film and drama, rates sit closer to established industry minimums and buyout structures, though this varies with production budget.
Industry agreement minimums
For film and television work in the UK, Equity and Pact (the Producers Alliance for Cinema and Television) negotiate agreements that set minimum daily and weekly payments for performers, including specific stunt performer and stunt coordinator minimums plus a separate stunt insurance payment. Pact publishes these as dated rate cards, revised roughly annually, so any given figure applies only to a named rate period. Those minimums are a floor for engagements made under the relevant agreement, not a quote: they are not Movement Management's fees, and a specialist parkour or stunt booking with usage attached typically sits well above the floor. If your production is engaging under a Pact/Equity agreement, ask your production accountant or Pact contact for the rate card covering your shoot dates and budget from that.
Rehearsal, risk, numbers and travel
Most performers include some prep in a quote. Full choreography, location recces, safety briefings and run-throughs usually cost extra or add days. A simple vault sequence in one location might need a single rehearsal day; a rooftop chase across multiple locations or work alongside a stunt coordinator can need three to five prep days.
Risk level and location matter too. Standard film production insurance typically excludes stunt work and hazardous activity, so either the performer carries specialist cover or you arrange and pay for it. High-risk sequences, night shoots, crowded locations and work at height all affect insurance costs and may require spotters, medics or a stunt coordinator on site. Our guide to parkour performance insurance and risk assessment covers what that involves.
Booking two or three athletes for a group sequence is cheaper per head than booking them separately, though not proportionally cheaper. And travel is built in: if you are filming in London and the athlete is based in Bristol, or the shoot runs across several locations, that lands in the quote. Overseas work adds flights, accommodation and visa facilitation.
What a quote includes
When you contact us to hire a parkour performer we will ask for the project type, shoot dates and locations, the scope of movement, the usage scope, rehearsal needs, the number of performers, and any special requirements. We then match you with the right athlete from the roster and build a proposal covering day rate, prep and rehearsal, usage, travel and insurance as a single number. That number is what you pay.
As a rough shape: a single performer, eight-hour shoot, simple movement, local to the location, digital and social usage only is your baseline. Add complex choreography, a prep day, broadcast or paid digital usage and travel, and the cost rises substantially. Multiple performers, a two-day shoot, high-risk sequences, specialist insurance and a full buyout multiplies across every one of those variables. A day rate on its own never tells the full story, which is why we ask for the full brief before proposing a number.
Frequently asked questions
What is the difference between a performer and a stunt performer?
In the parkour world the terms overlap heavily. A stunt performer is trained and insured for hazardous action. Several Movement Management athletes hold screen stunt credits and work in both capacities. If your brief is stunt classified, flag it at enquiry stage so the right athletes are put forward. See parkour stunt performers.
Can I use footage of a parkour performer in an ad without paying usage fees?
Only if your quote or agreement covers it. If you paid a day rate alone, no. If you paid for usage rights or a buyout, yes. If you are unsure what you bought, ask before you publish: using footage beyond the licensed scope opens you to claims from the performer or their agency.
Is a day rate ever the full picture?
Rarely. It works for a live event with no footage licensing, for organic social content that will not be syndicated or boosted, and for established production companies with a standing agreement covering usage. For everything else, ask for a full project quote.
Do you charge clients a booking fee?
No. Movement Management never charges booking fees to clients. Fees and usage are confirmed in writing before a job is held.
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