Video Production Company for Brand, Product and Social
From the idea through the shoot to the twelve versions each platform wants. We make video that has to hold attention in places where nobody is obliged to keep watching.
What We Make
Brand films
The piece that explains who you are and why it matters. Used on the homepage, in pitches, at events and in recruitment, so it has to work with and without narration.
Product and demonstration video
Showing how something works, which is often the fastest way to remove the objection that stops a purchase. Particularly useful where a product is unfamiliar or looks like its competitors.
Customer and testimonial films
Real customers explaining what changed. The most persuasive content most brands can make, and the most often postponed because it needs coordinating.
Event and behind the scenes
Coverage that gives the rest of the year something to publish, captured in one visit rather than commissioned piece by piece.
Corporate Video Production That People Actually Watch
Corporate video works when it is built around one audience and one thing to say. That is decided before filming, not in the edit.
We agree what the film has to achieve and who it is for at the brief stage, then hold to it through production, so the length is set by the content rather than by a slot in a schedule.
The kinds of corporate work we make most often: company introductions, recruitment and culture films, internal communications, training and process video, and the pieces that support a sales conversation rather than replace it.
How a Production Runs
- 01
Pre-production
Objective, audience, message, script or structure, locations, contributors and a schedule. This is where a production is made or lost, and where most of the cost of a bad shoot is avoided.
- 02
Shoot
A crew sized to the job rather than to the invoice, and a shot list built around every output the footage has to produce, not only the main film.
- 03
Post-production
Edit, grade, sound, motion and subtitles. Review rounds are agreed in advance so feedback arrives once, consolidated, rather than in twelve separate emails.
- 04
Versions and delivery
The main film plus every cutdown, aspect ratio and length the channels need, delivered in a structure your team can find things in six months later.
Shooting Once for Everywhere It Has to Run
The expensive part of video is the day itself: the crew, the location, the contributors, the coordination. What comes out of that day is largely decided by whether anyone planned for the other channels before it started.
So we plan the outputs first and shoot to that list. Framing that survives a vertical crop. Contributors saying the point in one sentence as well as in three. B roll captured because a social edit will need it, not because there was time left. The result is one production day that produces a brand film, a set of social cuts, stills, and material the paid team can test.
It is also why video made for performance channels is a different craft from film made for a homepage. In a feed the first second decides everything, most viewing happens without sound, and the version that wins is rarely the one the team liked in the edit suite. Both kinds of work are worth doing. They just cannot be made the same way.
Where Video Meets the Other Channels
Paid media tells you which cut worked
Running the variations as paid social produces an answer within days about which opening, which length and which framing held attention. That evidence shapes the next shoot rather than sitting in a report the production team never sees.
Social needs a supply, not a campaign
Publishing consistently across channels needs more footage than any single production provides. Planning capture around a social media calendar rather than around individual requests is what makes an always on channel affordable.
Search and AI answers increasingly include video
Results pages carry video for how to and demonstration queries, and assistants summarise transcripts. Titles, descriptions and accurate captions decide whether that happens, which makes them part of the production and part of the SEO plan rather than an upload afterthought.
Filming in Regulated Categories
In pet and animal health, what a video can claim about a product is governed by Veterinary Medicines Directorate requirements, and what can be shown on screen matters as much as what is said. A demonstration implying an outcome the product cannot claim is a problem whether or not anyone says it aloud. Agreeing that at script stage is far cheaper than discovering it after a shoot day.
See our pet and veterinary workTell Us What the Film Has to Do
A launch, a recruitment problem, a product that needs demonstrating, or a channel that needs feeding all year. Tell us the objective and where it will run, and we will come back with what we would make and how we would shoot it.
Start a conversationVideo Production Questions, Answered
How long does a video project take?
For a straightforward corporate or product film, typically a few weeks from brief to delivery, with pre-production and the approval rounds taking more of that time than the shoot or the edit. Larger productions with multiple locations or contributors need longer, mostly for coordination. Timelines compress fastest when the approval route is agreed at the start.
Do we need a script?
Not always a word for word script, but always a structure. Interview led films work better from a question set than from a script, because people sound like themselves. Anything with a voiceover or a specific claim needs the words agreed before the shoot, particularly where a regulator is involved.
Can you film at our sites?
Yes, and it usually produces better material than a studio because the environment is real. Multiple sites are a scheduling question rather than a technical one. What matters most is having someone on the day who can make decisions and unlock doors.
Can you use footage we already have?
Often, yes. Existing rushes, product photography and event coverage can be edited into new pieces, and it is a sensible first step when the budget is tight. The limit is usually technical: footage shot for one format rarely crops well for another, so it works best combined with a small amount of new capture.
Who owns the footage and the rushes?
You own the finished films and the rushes are handed over on request. Where music, stock or contributors are licensed for a defined use, those terms are set out when they are chosen, so nothing expires unexpectedly two years later.
Do you handle subtitles and other language versions?
Yes, and subtitles are not optional in practice. Most social video is watched without sound, so captions are part of the edit rather than an accessibility extra added at the end. Additional language versions are straightforward when they are planned before the edit is locked.
