Brand films, testimonials, product, corporate, event, social and aerial. Same production standard, same grade, one invoice, whether the job is a ninety second brand film or a year of progress footage on a build site.
Each one links through to the page that covers it properly. Open a box for what it involves and when it is the right call.
Story-led films that build authority rather than list features, usually 60 to 120 seconds. The format that earns a place on a homepage and holds up for two or three years. See brand videography.
The single highest-converting format most businesses can commission, because a buyer believes another buyer. Filmed so a fifteen second cut and a two minute cut both come out of the same interview. See brand photo and video.
Close, well-lit sequences of a product being used, a process being run or a service being delivered. It answers the only question a cold viewer has, which is whether this does what it says.
Recruitment films, induction and training content, capability statements for tender, and the internal comms that would otherwise be a slide deck nobody opens.
Highlights reels, full session recordings and keynote coverage, with audio taken from the AV desk where there is one. See events and conferences.
Nine by sixteen work framed for that shape on the day rather than cropped out of a landscape frame afterwards, cut into enough variations to actually test. See social media ads.
Progress films and time lapse shot to fixed positions so the sequence cuts as one build. See building and construction.
4K aerial sequences flown to a shot list under a CASA licence, cut to sit inside the wider edit. See drone photo and video and drone videography Melbourne.
Quoted as a fixed fee against the brief. The two things that move the number are the number of shoot days and the length of the edit, not the running time of the finished film.
A single testimonial filmed alongside an existing shoot day is a very different figure to a scripted brand film with talent, locations and a two week edit. Say what the video has to do and the quote comes back with the scope written beside it.
Two to four weeks end to end for most work. Roughly a week of pre-production and scheduling, the shoot day itself, then one to two weeks of edit including a revision round.
Event highlights and social refreshes are faster. Anything involving talent, multiple locations or legal sign-off is slower, and that is worth planning for rather than discovering.
Shorter than instinct suggests. Sixty to ninety seconds covers most brand films, fifteen to thirty for paid social, two to three minutes for a case study where the story earns it.
Length should follow the job the video is doing. A film that runs four minutes because there was four minutes of footage is the most common way to lose an audience at ninety seconds.
Yes, and for interview-led work the better approach is usually not to script it at all. A question set produces answers that sound like a person; a script produces answers that sound read.
For anything with a voiceover or a presenter, you get a full script to approve before the shoot day, because that is much cheaper than discovering it on set.
Usually not. Your own people are more convincing than hired talent for anything about your business, and they cost nothing in usage fees.
Where a brief genuinely needs an actor or a voiceover artist, they are cast and quoted as their own line, with their usage terms set out separately.
Yes. Every track is commercially licensed for your use, and the licence is included in what you pay.
This matters more than it sounds. Unlicensed music is the usual reason a finished video gets muted or pulled down by a platform months after it was posted.
Yes, and they are built while the footage is already on the timeline rather than cropped out of the finished landscape cut afterwards.
Say at booking that you want them, so the framing on the day leaves room for both. That single decision is the difference between a vertical cut that works and one where someone's head is out of frame.
You get a commercial licence in perpetuity for your own marketing across every platform, with no separate media buyout. I keep copyright and the right to show the work in my portfolio.
Raw footage is available on request and is worth agreeing up front rather than after delivery. Most clients do not want it; teams with an in-house editor sometimes do.
“Jordy produced 25 short videos for headspace end-to-end, working on location in Darwin to capture footage and then managing all post-production. A consummate professional who took the time to understand the product, the narrative and our objectives.”
Tell me what the video has to do and where it needs to live. I will come back with an approach, the deliverables and a date.
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