Questions
The questions directors actually ask.
Including the awkward ones. Where the honest answer is that something is not settled yet, it says so rather than sounding confident.
Money
What you charge, what you pay, and what happens when it goes wrong.
How much should I charge for it?
That is your decision, and it is the only price a family ever sees. When a director asks, we suggest around £149 as a starting point. It is a guide rather than a recommended price, and homes are free to sit above or below it.
How the pricing worksWhat do you charge me?
One fixed rate per tribute you release, and nothing else. We do not publish the rate because it is a term of your contract, but ask and we will tell you in the first email. The difference between that and your own price is your margin.
Ask what the rate isIs there a minimum, or a monthly fee?
The product bills one thing and one thing only: the rate, per tribute released. Anything else — setup, minimums, length of term — belongs in your agreement rather than in the software, and we would rather you heard those from a person.
How and when am I invoiced?
A trade invoice at the end of each month, covering the tributes you released in it. There is no card on file and no deposit. An order that is set aside before release is not billed at all.
What if a family is unhappy and wants their money back?
You refund the family what they paid you, and we credit you the rate we charged. A genuine problem after the funeral is honoured at your discretion, not ours. Families also approve the tribute before anything is committed, and can stop without charge up to that point, so the usual reason for a refund tends not to arise.
What it costs you in time
The honest version, including the parts you cannot delegate.
How long does it take me to set one up?
You paste the notes you already took in the arrangement meeting, or a transcript from a notetaker. We pull the brief out of them and come back only with what is genuinely missing, which you confirm rather than retype. Then you name the family’s main contact and send the link.
The whole processWhat if I do not take written notes?
Then you fill in the brief directly instead — the same fields, asked as short questions rather than extracted from a paste. The notes route exists because most arrangers already write something; it is a shortcut, not a requirement.
Do I have to chase the family along?
No. Between priming and your review you have a dashboard of order stages and nothing to do. If a draft reads as sensitive it is held and put in front of you before the family sees it, and if a family raises a concern it comes to you rather than disappearing into a queue.
What do I actually have to do at the end?
Watch the finished tribute and record that you have. Then release it, or send it back with a note. That step cannot be skipped or automated, and it is deliberately the one piece of real work the process asks of you.
Safety and dignity
Who checks the words, and what happens when a death is not ordinary.
Who checks the words before a family sees them?
Every draft is screened automatically before a family sees it, and one that scores sensitive or ambiguous is held and escalated to you rather than shown. That screen lowers the risk rather than removing it, and we would rather say so than let you believe otherwise. The guarantee is your own review before anything is released.
What happens with a young death, a suicide, or a stillbirth?
You flag the circumstance when you prime the order, and that flag conditions how the words are written and forces the first draft into your review before the family sees it. A tribute for a sensitive death never auto-reveals a celebratory draft. If you would rather not offer it at all for a particular family, you simply do not.
Can I stop one?
Yes, at your review, and there is a distinct outcome for it rather than a workaround. You can send it back to the family with a note, or decline to release it altogether. Nothing reaches a family as a finished tribute without you.
What if the family objects to something in it?
They can flag a problem on any draft and on the finished tribute, and it routes to you and to us; raising one before release pauses it. Separately, someone who appears in a photograph and does not want to can ask for it to be removed, and there is a defined path for that.
Whose name is on the finished tribute?
Yours. Every page the family touches, the permanent place they keep it, and the message that brings them in all carry your home’s name and branding. Ours appears nowhere in front of a family.
How the white-labelling worksRights and liability
Music licensing, what the family gets, and what we do with photographs.
Is the music properly licensed?
The song is original and made on commercially licensed engines, which matters because the free waiver covering music at a funeral does not cover a recording a family keeps and shares. This is table stakes rather than a reason to choose us — the established suppliers in this market are licensed too.
Our position on licensingWho owns the finished tribute?
The family holds their own copy of the finished file, and it is theirs to keep, play and share. The precise legal grant behind that — a licence or an assignment — is being settled with lawyers and will be written into your agreement and the family’s terms rather than described loosely here. If that answer matters to your decision, ask us where it has got to.
Can the family play it at the service, and afterwards?
That is what it is for. The film is an ordinary MP4 that plays from a phone, a browser or a memory stick, so it does not depend on any particular crematorium’s system. Afterwards they keep it on a private page and hold their own copy of the file.
What do you do with the family’s photographs?
They are stored in UK data centres, kept private to the family and to you, and never published, sold or made searchable. If a family asks us to delete a tribute we delete the files and the records together, whenever they ask. A music engine cannot go on our roster until it confirms in writing that it neither trains on nor keeps what we send it, and we are working through the same question with the suppliers who analyse photographs.
What happens to a family’s photographsWhat the family has to manage
Written for the eighty-year-old widow, not the app-literate grandson.
What does the family actually need?
A phone and the link you send them. They open it from the text or email, and they are in. There is nothing to install and nothing to buy.
Do they need to make an account or remember a password?
No, and there is no way for them to make one. Entry is by the link alone, which is deliberate: a password is one more thing to fail at a fortnight when everything else is failing too.
What if the family are not confident with technology?
The main contact can bring in a relative to do the uploading, and each of them gets their own link rather than sharing one. They can stop and come back as often as they like. And if it becomes too much, they can ask you to finish it for them.
What if there are only a few photographs?
Then they get the song without a film, and that is a complete tribute rather than a failed one. The song is the guaranteed part and is always deliverable. We nudge for more pictures first, but nobody is left with nothing because a family could not gather enough in the time they had.
Ask us one we have not answered
Especially the ones with an uncomfortable answer. We would rather deal with them now than have you discover one in front of a family.