Overview
You have a brand film that sounds like your business, looks like your brand, and gives you a cut you can use on the site, in decks, and in hiring without extra explaining.
We’ll lock the brief, plan the day, and run interviews and b-roll on a tight schedule. You’ll end up with a film your directors can sign off without defending. Next is a short pre-production call to set the message and the running order.
We start by getting the message into a shape that works on camera, then we build a filming day around it. That means a recce and lighting plan before anyone is booked in, questions written and approved in advance, and a shoot schedule with timecodes so interviews stay on-message and on time.
Who you are working with
We’re a corporate video team that makes corporate brand films for marketing teams who need the job to run cleanly. We came up through the on-site reality of engineering and professional services: offices that are working, people with calendars, and directors who want the point made quickly. We plan like producers because the filming day is the expensive part.
Clients pick us when they want calm control of the day and a film that stays on-brief in the edit. We put the questions, the schedule, and the approvals in writing before we roll cameras, because interviews loosen up when the person being filmed knows what’s coming. We also treat sound as a first-class job, so the cut doesn’t get sunk by room echo and laptop fans.
The team
You’ll have the same small crew from planning through delivery, with named people responsible for each part of the day.
Team
Tom Hargreaves, Producer. Tom is our producer. He runs the brief lock, the schedule, and the on-the-day timings so your staff know where to be and when.
Aisha Khan, Director of photography. Aisha is our director of photography. She sets the lighting plan at the recce and keeps the interviews looking consistent across rooms and times of day.
Ben Rowe, Camera operator. Ben is our camera operator. He handles the second angle, b-roll coverage, and the practical details that keep filming moving between locations.
Lucy Pritchard, Sound recordist and mixer. Lucy is our sound recordist and mixer. She mics contributors, monitors every take, and makes sure the edit has clean dialogue that carries.
Recent projects
Here are a few corporate brand films we’ve delivered recently, showing different tones and shooting realities while keeping interviews sharp and edits on-message.
Portfolio
Engineering brand film. A single-day shoot built around four interviews and working-floor b-roll. We used a timed schedule to keep contributors moving, then cut a 90-second hero film for the homepage and decks.
Recruitment and culture film. A half-day interview block plus a roaming b-roll unit across the office. The edit leaned on short lines and pace, so the film worked for job ads and careers pages.
Customer case study shoot. A one-day case study with a client interview, site visuals, and product-in-use shots. We structured the story as problem, decision, result so it slotted into sales follow-up.
“They kept the day moving and the interviews came out natural and on-brand.”
Marketing manager, a professional services firm
What you get
* Brand film turnaround. A leadership team needed a homepage film for a site refresh, but they were worried about losing a full day to filming. We planned a tight interview block and ran six interviews in 4 hours, with b-roll captured in parallel. * Message control in edit. The first assembly ran long at 4:20, which would not hold attention on the homepage. We rebuilt the structure around three proof points, cut it to 1:45, and kept one line from each director that supported the same message. * Fewer internal loops. Sign-off was the real risk, so we agreed the script beats and the questions before filming, then used timecoded review notes in post. The film reached approval in 9 working days from shoot, with 18 consolidated notes in round one and 6 in round two.
What it costs
These three options cover the same process and crew, then step up by filming time and edit time. We’ll confirm the exact schedule after the recce.
Priced items
Next steps
When the job is finished, you’ll have a set of video files and working assets you can publish straight away.
1. One finished corporate brand film (main cut), supplied as a single master file ready for web, decks, and internal playback. 2. A short cutdown version for social and email, paced for viewing with sound off and clear on-screen text where needed. 3. A set of interview selects, labelled by contributor and topic, so your team can reuse lines in future edits and campaigns without rewatching everything end to end.
Signature
Fee summary
Plan and brief lock
We start with a pre-production call to lock the message, audience, and where the film will live. We’ll agree the running order, the list of contributors, and what needs signing off before we book a shoot date. Allow 2 to 4 working days.
RECCE AND LIGHTING PLAN
We do a short recce to check rooms, noise, access, and backgrounds, then we send a lighting and camera plan and a timed schedule. This is where we prevent the common problems: echoey rooms, messy backgrounds, and waiting around. Allow 2 to 3 working days.
Filming day
We run interviews to a schedule and keep the set small. Our producer keeps contributors moving, our sound recordist monitors every take, and we capture b-roll around site between interviews. A typical day runs 6 to 8 hours on site.
EDIT, AMENDS, AND FINAL EXPORTS
We send a first cut with a clear deadline for feedback, then we apply amends and export final versions. We ask for one set of consolidated notes per round, ideally with timecodes, so we spend time improving the cut rather than translating opinions. Allow 10 to 15 working days.
Booking and payment
To book, you’ll sign off on the proposal and pay 50% upfront. The remaining 50% is due when the finished work is handed over. Invoices are payable within 14 days of their date.
Schedule and access. We’ll agree the shoot date after the recce and brief lock. You’ll provide access, parking instructions, and a point of contact on the day, so we can keep interviews running to the timed schedule.
Your inputs. You’ll confirm the contributor list and any internal sign-offs during brief lock. If approvals or contributor availability slip, the schedule moves with them, and we’ll reset dates in writing before we proceed.
Feedback rounds. Our edit stage includes amends, handled in rounds. Each round needs one set of consolidated notes, ideally with timecodes. If feedback comes in piece by piece, we’ll pause until it’s consolidated.
Changes to scope
If the running order, contributor list, or filming time changes after brief lock, we’ll explain the impact on time and cost before we do the extra work. Nothing expands quietly and lands as a surprise invoice.
Client materials. If you supply logos, brand guidelines, or existing footage for the edit, you’re confirming you have permission to use them. We’ll use what you provide, and we’ll flag any technical issues we can see early.
Ownership and usage. Once the final payment is received, you own the finished films and final exports we deliver. We keep the right to show short extracts in our portfolio unless you ask for confidentiality in writing.
