Tell your brand story like only an in-house team can.
From brand films to product launches to internal communication videos, shot, directed and edited entirely in-house, with a crew that understands both storytelling and what makes a video perform.
A great corporate film does more than look good.
It makes people feel something about your brand and remember it. We handle the whole craft in-house, from the first idea to the final cut, so your story is told with care and your film is built to work in the campaigns where it'll live.
- Brand and corporate films
- Founder and company-culture stories
- Product and explainer videos
- Social and vertical-format content
- Event coverage
- A brief format that forces the decisions before the shoot
- Single-approver workflow and timecoded feedback rounds
- Platform cuts delivered from one shoot, not commissioned separately
The tools behind the work.
The platforms and technologies we use to deliver Corporate Films & Video — enterprise-grade, battle-tested, and chosen to fit your business.
Most revision rounds are decisions nobody made.
Endless revision cycles rarely come from bad editing. They come from a brief that described a video rather than a decision. When three stakeholders each imagined something different, the first cut is where they discover it — and by then changing course costs real money.
What the brief has to settle
- One audience. Not customers, investors and new hires — pick the one the film exists for and accept the others need a different edit.
- One action. What should the viewer do immediately afterwards? If the honest answer is nothing, it is brand work and should be judged as brand work.
- Where it plays and at what length. A conference stage film and a LinkedIn feed film are different films, not different exports.
- Sound on or sound off, which decides whether the story can be carried by dialogue at all.
Lock three things before the shoot
The script, the approver and the shot list. Naming a single approver — someone who can say yes without a committee — is the highest-leverage line in any brief. A shot list agreed in advance is what makes it possible to say honestly that a requested change would need a reshoot rather than an edit.
A revision structure agreed in writing
Two rounds works: one round of substantive change on the rough cut, one of polish on the fine cut, with colour and sound after that. Feedback consolidated into a single timecoded list from the named approver. Conflicting notes from four people is the exact mechanism by which two rounds becomes six.
How a film project runs.
Week 1 — Brief & script
Audience, action, platform and approver settled. Script locked before anything is booked.
Week 2 — Pre-production
Shot list, locations, casting where needed, and a schedule everyone has seen.
Weeks 3–4 — Shoot & rough cut
Filming, then a rough cut for one consolidated round of substantive feedback.
Weeks 5–6 — Finish
Fine cut, colour, sound and all platform versions delivered together.
Frequently asked questions.
It depends on scope — a single talking-head piece costs far less than a multi-location brand film. We'll scope it to your budget and goals.
Typically a few weeks from brief to final cut, depending on shoot complexity and approvals.
As long as the platform tolerates and the story earns. Around ninety seconds for the web, thirty for social, and a longer cut only where the audience is captive.
Two by default — substantive on the rough cut, polish on the fine cut — with the structure agreed in writing before the shoot so nobody is surprised.
Yes. Travel and logistics are quoted separately and honestly rather than buried in the production fee.
Often, yes. Recutting an existing library for new platforms is frequently better value than a fresh shoot, and we will say so when it is.
Let's put this to work for you.
Tell us what you're trying to grow. You'll get a plan, not a pitch.
Plan your film