Reported by Simon Daniel Yusuph l Journalist at Weng Global
Nigerian music video director ThankGod Omori, popularly known as TG Omori, has revealed that the production budget for some high-end music videos can now exceed $100,000, with international shoots and the rising cost of production contributing significantly to the expense.
Omori made the disclosure during an episode of the Afropolitan podcast published on September 23, 2026, where he discussed the economics of music video production, the challenges facing Nigerian creatives and his experience working on major Afrobeats projects.
The award-winning director explained that the amount spent on a music video does not necessarily represent what the director personally earns, as a substantial portion of the budget can go towards production expenses.
From Low-Budget Shoots to Six-Figure Productions
Omori’s comments highlight how dramatically the economics of Nigerian music video production have changed during his career.
According to the podcast episode, Omori started his directing career producing entire music videos with budgets of about ₦2 million. He has since progressed to projects where production budgets can run beyond $100,000.
His early career involved working with considerably smaller budgets. In a previous interview with OkayAfrica, Omori recalled starting with just tens of thousands of naira for equipment, locations and production, before securing larger projects as his reputation grew.
The increase in budgets reflects the growing scale of Nigeria’s music industry and the international ambitions of major Afrobeats artists.
Why International Shoots Cost More
Omori explained that shooting outside Nigeria can substantially increase the cost of producing a music video.
International productions can involve expenses for travel, accommodation, equipment, crew, locations, permits, transportation and other logistical requirements.
The director’s comments come at a time when Nigerian artists increasingly produce music videos designed for global audiences, with productions sometimes taking place across different countries.
However, Omori also pointed out that a large budget does not automatically translate into a large personal profit for the director.
Production costs can consume a significant share of the money allocated to a project, meaning the director may have relatively little left after paying the various expenses required to deliver the video.
The Hidden Cost of Music Video Production
The discussion also focused on costs that audiences may not see when watching a finished music video.
A production may require multiple crew members, specialised equipment, locations, transportation, security and other logistical arrangements.
For shoots in Lagos, Omori described additional challenges involving access to locations and interference with private productions.
In the same podcast episode, he discussed an incident in which people he described as area boys disrupted a shoot at a private property in Ikoyi in the early hours of the morning. The account illustrates some of the operational challenges that can affect production costs even when a production has already secured a location.
Such disruptions can result in delays, additional security requirements and lost production time.
Big Budgets Do Not Always Mean Big Profits
Omori’s comments also provide insight into the financial pressures faced by music video directors.
In June 2025, he said he had spent years working without making consistent profits from music videos and had accumulated production debt.
He said he only began making profits from music video production in 2023 and had previously relied partly on income generated from his personal brand to address production-related financial obligations.
The disclosure illustrates the distinction between a project’s total production budget and the amount ultimately retained by the creative professionals involved.
A $100,000 production budget, for example, can cover numerous expenses before the director’s own earnings are calculated.
Nigeria’s Growing Music Video Industry
Music videos have become an important part of the global presentation of Nigerian music.
Artists increasingly rely on visually ambitious productions to accompany songs released to audiences across Africa, Europe, North America and other markets.
Directors such as Omori have played a prominent role in shaping the visual identity of contemporary Afrobeats.
His work has included collaborations with major Nigerian artists, including Asake, Naira Marley and others. The Afropolitan podcast describes him as a director behind several notable videos associated with the modern Afrobeats era.
The growth of international audiences has also increased expectations around cinematography, locations, visual effects, choreography, styling and overall production quality.
These factors can push the cost of individual projects substantially higher than the budgets traditionally associated with Nigerian music videos.
A $100,000 Video Is Not Necessarily a $100,000 Fee
One of the key points emerging from Omori’s explanation is the difference between the overall production budget and the director’s fee.
The production budget covers the resources needed to make the video.
Depending on the project, this may include:
- Crew salaries and professional fees
- Cameras and other equipment
- Locations
- Transportation
- Accommodation
- Set design
- Lighting
- Costumes and styling
- Security
- Travel expenses
- Post-production
- Visual effects
- Permits and logistics
As a result, the headline figure attached to a music video can give the impression of a large payment to the director when much of the money may actually be committed to production.
This distinction is particularly relevant as Nigerian music videos increasingly compete visually with productions from other major music markets.
Previous High-Value Nigerian Music Video Projects
The Nigerian entertainment industry has previously recorded reports of exceptionally expensive music video productions.
In 2023, reports said Davido paid TG Omori ₦100 million for the video of his song “Jowo”, a figure that Omori subsequently confirmed.
More recently, music producer Femi Dapson was reported to have disclosed a $100,000 production budget for Davido’s “B4 B4” music video featuring Mayorkun and FOLA. According to the report, much of that budget went towards the production itself rather than professional fees.
These figures demonstrate the scale of investment now possible within Nigeria’s music-video ecosystem, although individual production budgets vary considerably depending on the artist, concept, location and technical requirements.
What the Disclosure Means for Nigerian Creatives
Omori’s comments also draw attention to the broader financial realities of Nigeria’s creative economy.
High-profile productions can generate significant opportunities for directors, cinematographers, producers, stylists, dancers, editors, set designers and other professionals.
At the same time, rising production expenses can create financial risks for creatives who have to manage large budgets while delivering projects to demanding clients.
For emerging directors, the challenge can be particularly significant because they may not have access to the financial reserves or established networks available to more experienced production companies.
Omori’s own account of spending years dealing with production debt provides an example of how difficult it can be to translate professional visibility into sustainable profitability.
The Business Behind Afrobeats’ Visual Culture
The increasing cost of music videos reflects a broader transformation in the Nigerian music industry.
Afrobeats has become an international commercial force, and artists increasingly invest in visual content intended to support their global brands.
Music videos are no longer simply promotional accessories for songs. For major artists, they can form part of a wider strategy involving streaming, international marketing, social media engagement, fashion and live performances.
That expansion creates opportunities for Nigerian directors and production companies but also places greater demands on their ability to manage complex projects.
Omori’s revelation that some productions can exceed $100,000 therefore offers a glimpse into the scale of investment behind some of the industry’s most ambitious visual projects.
What Happens Next
The continued international growth of Nigerian music is likely to keep demand for high-quality visual productions strong, although individual budgets will continue to depend on artists, labels, concepts and production requirements.
For directors and other creatives, the financial challenge will remain not only securing large projects but also managing budgets efficiently enough to ensure that high production spending translates into sustainable creative businesses.
Omori’s comments provide a rare insight into an aspect of the music industry that audiences rarely see: the substantial financial and logistical resources that can sit behind a few minutes of finished music-video content.
Weng Global – stories beyond borders
Sources
- Afropolitan Podcast
- Amazon Music
- OkayAfrica
- TheCable
- Tori News
- Angle360News
