Five stages, in the order they happen, with what we need from you at each one. Most of the value we add lands in the first stage, before a camera is booked. The rest is execution.
A free call, usually thirty minutes. We are not asking what video you want. We are asking what has to change in the business, because the format should be chosen after the problem is defined, not before.
Who the video is for, what they currently believe, what you need them to do next, and where the finished piece will actually be seen. Budget range and deadline, so we can tell you early if the two do not meet.
A recommended format and a price range from the published pricing, not a proposal deck. If a cheaper format solves it, we will say so. If the honest answer is that you do not need video yet, we will say that too.
The unglamorous stage that decides whether the shoot day works. Everything agreed here is something nobody has to improvise on location.
Shot list, scripting or interview questions, location scouting and load-in, crew and gear, permits and airspace authorisation where the location needs it, and the certificate of insurance for any venue that requires one.
Naming one approver, confirming who is on camera and that they know it, and clearing site access. If a legal or compliance review is required, telling us at this stage rather than at the edit changes the schedule by weeks.
Unconfirmed on-camera subjects. A shoot day built around an executive who has not actually agreed to be filmed is the most common way a schedule collapses, and it is entirely preventable.
Most projects are one or two days. A monthly content engagement is deliberately compressed into one or two shoot days that produce a month of assets, because setup is the expensive part and doing it four times is waste.
Crew arrives ahead of call time to light and set up. We shoot the agreed list first and the opportunistic material second, so that if the day runs short the thing that gets cut is the nice-to-have, not the deliverable.
Nobody needs to be a presenter. Interviews are conversations, edited afterwards. The job is getting past the prepared answer without pushing someone into saying something they regret, which is a room-management problem more than a camera problem.
An event happens once and does not stop for production, so you plan coverage rather than shots. We decide in advance what must be captured no matter what, and accept that everything else is opportunistic.
First cut comes to you as a review link with timestamped comments, so feedback lands against the frame it refers to instead of in an email thread. Two rounds of revisions are included.
Structure and story. This is the round to say the opening does not work or a section should go. Changing the shape of an edit is cheap here and expensive later.
Polish. Colour, sound mix, graphics, captions, and the small wording fixes. Structural changes at this stage are new scope, and we will tell you that rather than quietly absorbing it.
One consolidated set of notes per round from one approver. Feedback arriving in pieces from several people over several days is the single biggest cause of a late delivery, and it is the part you control.
You get a horizontal master for the site and YouTube, vertical cutdowns for Reels, TikTok and Shorts, and square where a placement needs it. Captions are included on social deliverables because most of that audience watches muted. The files are yours to use across owned channels and paid media without a further licence.
Delivery is the end of the engagement. Raw footage is available on request if you ask before the shoot rather than after, so hand-off can be planned instead of scrambled.
Delivery is the middle. Assets go out through the month, and the next cycle is planned against what actually got watched rather than what we assumed would. That review is the point of the retainer.
Tell us what has to change in the business and we will tell you which format solves it, what it costs from the published ranges, and how long it takes.