Video production, start to finish

What we produce

Video production covers the work most brands need on a recurring or one-off basis: brand films that establish tone and positioning, product or explainer videos that walk through a feature or offer, corporate video for internal communications or leadership messaging, recruitment video for careers pages, and short-form cuts built for social feeds from the start rather than repurposed as an afterthought. We also cover event coverage — conferences, launches, internal events — shot to produce both a longer recap and a set of short clips.

• Brand films: positioning-led, typically used on a homepage or in a pitch
• Product and explainer video: feature walkthroughs, how-it-works pieces, onboarding content
• Corporate and recruitment video: leadership messages, culture and careers content
• Social-first short-form: cut for vertical feeds, not resized afterward
• Event coverage: recap edits plus social clips from the same shoot day

Most projects fall into one of two shapes. A single deliverable — one brand film, one explainer, one recruitment piece — with a defined script, one shoot day, and a fixed edit scope. Or an ongoing arrangement, where several deliverables are planned across a quarter and shot in batches to make better use of crew time and locations. Which shape fits depends on how often you need new video and whether the content is evergreen or tied to a specific launch or event.

We also work as an extension of an in-house marketing team on a single project basis — supplying crew, gear, and edit capacity for a brief you've already scoped, rather than starting from a blank page. This is common for recruitment and internal-comms video, where the messaging is set internally and what's needed is production capability.

Pre-production

Every project starts with a script or outline and, for anything with visual complexity, a storyboard or shot list. For projects with on-camera talent we handle casting briefs and coordinate auditions or selection from your existing team or hires. Location scouting happens early enough that permits, access, and backup dates are locked before the shoot day, not scrambled the week of.

• Script or content outline, reviewed with you before locking
• Storyboard or shot list for anything beyond a simple interview setup
• Casting support when the project needs on-camera talent
• Location scouting, permits, and access confirmed ahead of the shoot

Pre-production is where most scope questions get resolved cheaply. A script review can catch a scene that needs a second location, or a message that runs long for the intended length, before crew and gear are booked. For recruitment and corporate video, this stage usually includes a short interview or conversation with the people who'll be on camera, so questions feel natural rather than rehearsed on the day. For product and explainer video, pre-production includes confirming which features or moments actually need to be shown on screen versus described in voiceover, since that decision drives the shot list.

Weather-dependent or access-dependent shoots get a backup date built into the schedule from the start. This is a small planning step that avoids a full re-scope if a location falls through or a key person can't make the original date.

Production

On shoot day, crew size scales to the project — a single operator for a simple interview, a small crew with a gaffer and sound operator for anything with lighting and dialogue requirements. Gear, lighting, and sound are matched to the deliverable rather than defaulted to a fixed package, which is one of the reasons scope questions come up early rather than at the edit.

• Crew scaled to the shoot — solo operator up to a small multi-role crew
• Lighting and camera gear matched to location and deliverable
• On-location sound recording, separate from camera audio where dialogue matters
• Multiple takes and coverage angles so the edit has options

A typical office or on-location shoot day runs a defined block of hours, with setup and breakdown time built in around it rather than treated as free. For multi-location or multi-day projects, the schedule accounts for travel and re-setup time between locations, since lighting and audio setups rarely transfer directly from one space to another.

Where a client stakeholder or subject matter expert is on camera, we run a short pre-roll conversation before recording starts — not to script their answers, but to get them comfortable with the setup and confirm the questions or talking points cover what's needed. This tends to produce more natural delivery than jumping straight into recording.

Post-production

Editing follows the brief and the footage, not a template. Colour correction and grading bring shots into a consistent look across a multi-location or multi-day shoot. Sound mixing balances dialogue, music, and any voiceover. Motion graphics and titles are added where the deliverable calls for them — lower thirds, callouts, animated logos — and we cut separate versions for each platform you're posting to rather than shipping one file and letting you crop it yourself. Subtitling and captioning are handled as a standard part of delivery when the deliverable is social-first.

• Edit built from the brief, with structured feedback rounds
• Colour correction and grading for a consistent look
• Sound mix: dialogue, music, voiceover balance
• Motion graphics and titles where the deliverable calls for them
• Platform-specific versions (16:9, 9:16, 1:1) and subtitling/captions

The first cut is built to match the brief's intended length and structure, then reviewed with you before any polish work — colour, sound mix, or graphics — is applied. This ordering matters: it's cheaper and faster to move a scene or trim a section at the rough-cut stage than after grading and sound mix are locked in, so we sequence feedback rounds accordingly.

Platform-specific delivery isn't an afterthought pass on a single master file. A 16:9 brand film and a 9:16 cut of the same content are often framed and paced differently from the start — a wide establishing shot that works in landscape may need a tighter reframe or a different cutaway in vertical. Where the shoot was planned with both formats in mind, this produces noticeably better vertical cuts than a straight crop of the horizontal edit.

How revisions work

Revision rounds are scoped per deliverable and confirmed in the brief before the shoot, not decided after the first cut lands. A revision round means structured notes on an existing edit — trims, pacing, graphic changes, colour or mix adjustments. Requests that change the underlying footage, such as reshoots or a different script direction, are scoped and quoted separately because they involve new production time, not just edit time.

We flag when a note falls outside the agreed revision scope before starting the work, so there are no surprise costs at delivery.