How much does a corporate video cost in London?

Most B2B briefs land between £1,500 and £15,000. A solo-operator half-day with a single highlight cut sits at the lower end. A two-camera, full-day shoot with a hero film plus social cutdowns runs £3,500 to £7,500. Multi-day conference coverage with a full crew, vertical and landscape edits, and a marketing suite of deliverables sits £7,500 to £15,000. Anything above is a campaign rather than a single video.

Where are you based, and how far do you travel?

London-based, working UK-wide as standard. International on request. Most clients are in central London, Manchester, Edinburgh, or somewhere in between; expeditions have included Cornwall, France, and the open Atlantic. Travel and accommodation are scoped into the quote where relevant.

What kinds of corporate video do you produce?

Event highlight films, conference and session recording, recruitment and early-careers films, social mobility and inclusion stories, B2B video presentations and case studies, mini-documentaries, and corporate photography (often shot the same day as a video brief). All deliberately B2B, no weddings or parties.

Do you work with a crew, or solo?

It depends on the brief. Small interview-led shoots are usually solo-operator. Conferences, multi-camera events, and brand films run with a crew of two to five, including a second camera operator, audio engineer, and sometimes a separate director or producer. The crew scope is part of the project quote.

What does post-production turnaround usually look like?

A first edit of a 2- to 3-minute highlight film typically lands within 2-3 weeks of the shoot. Conference session recordings, being lighter on edit, often come faster. Brand films and longer-form work usually take 3-4 weeks. Tight turnarounds (under a week) are possible with prior arrangement and a dedicated edit slot.

Do you provide raw footage?

Yes, where it makes sense. Selects (the best takes, with audio synced) are usually the most useful version. Full uncut rushes can be provided too. Both are delivered via a cloud transfer alongside the final cut.

What do I need to send in a brief?

A one-sentence description of the project, the audience, the date and venue, and the final deliverables. A budget range. A few reference videos if you have them. We've written a longer guide on briefing a corporate videographer if you want the deeper version.

Can you film at our event in-house, with confidentiality requirements?

Yes. Most B2B work has confidentiality requirements: closed sessions, sensitive documents, client identification constraints. We work around them as a matter of course (NDAs, careful framing, pre-approved b-roll, and final-cut sign-off from your team). Tell us the constraints early and we'll scope the shoot to fit.

Do you do photography as well?

Yes. Event coverage, portrait headshots, internal socials, and firm-branding stills. Often shot on the same day as a video brief, which keeps the visual language consistent across video and stills. Available standalone too.

How do I start a project?

Use the contact form, or email hello@jahvisuals.com directly. A short message describing what you're trying to make is enough. We usually reply within a working day with the questions we need answered to scope a proper quote.

B2B Brand Films: A Practical Guide for Marketing Teams

Most B2B firms commission a brand film at some point. Five-year anniversary, new strategy, a refresh of the website, a re-pitch to a major client. Sometimes the result is the asset the firm leans on for the next three years. More often it's a perfectly competent two-minute piece that lives on the homepage for six months and is quietly retired when nobody can remember a single line from it.

The difference between the two outcomes is rarely the budget. It's almost always the brief. So here's what we'd say to a marketing team thinking about commissioning a brand film: what they're actually for, what makes one earn its keep, and what to do instead when one isn't the right answer.

What a brand film is genuinely good at

A brand film is a piece of film that's trying to make a viewer feel something about the firm itself, rather than about a specific service, project, or person. Done well, it's the answer to "who are you, and why should I care." Done badly, it's a moodboard.

The good ones do three things consistently. They show the firm in motion: the work happening, the people doing it, the spaces the firm occupies. They make a small, specific claim about the firm that distinguishes it from its peers. And they end on a note that lets the viewer feel some warmth toward the people in it.

That's all. They're not selling anything specific. They're trying to make the next sales call easier by ensuring the prospective buyer arrives already sympathetic.

What makes the difference

The single hardest thing about a B2B brand film is being specific. Most firms commission one and end up describing themselves in language that any of their five closest competitors could use word-for-word. "We pride ourselves on outstanding client service, technical excellence, and a culture of innovation." The film is then thirty hours of work being assembled to support a sentence that means nothing.

The brand films that work pick a specific claim and build the film around it. "We've been serving the same clients for three generations." "Every partner here started as a trainee here." "We're the firm a financial regulator would call when they couldn't get hold of anyone else." That specificity is what gives the film a structure; it's also what gives the film something to be true about.

The single most useful thing a marketing team can do before commissioning a brand film is to write that one sentence first. If the firm can't write it, the firm isn't ready for a brand film.

When a brand film isn't the right answer

Sometimes the firm thinks it wants a brand film and actually wants something else.

If what the team really wants is "more leads," they don't want a brand film. They want a case study or two. Brand films don't generate leads; they make leads convert more easily once they've already arrived.

If the team wants "to look more professional," they probably want better photography on the website and a tighter homepage hero. A brand film won't fix the underlying impression issue if the photography is generic.

If the team wants "to attract better graduate applicants," they want a recruitment film, which is a completely different shoot. (Our note on graduate recruitment films goes into that one.) A brand film addressed to graduates and partners both is, almost by definition, a brand film that misses both audiences.

The brand film is the right answer when the firm is clearly trying to lift the perceptual ceiling: positioning itself for a different tier of client, refreshing how it shows up after a strategy change, anchoring an anniversary or rebrand. Outside those moments, almost always, another type of film is a better use of the budget.

How long, and what shape

We get into this elsewhere in our piece on video length, but for brand films specifically: 90 seconds to 2 minutes is almost always right. Anything shorter feels like a teaser; anything longer overstays its welcome.

The shape that works most reliably is:

A single opening image that signals the firm's confidence. The film's most cinematic shot. Twenty seconds of someone walking through the office at first light. The skyline. The door of the firm opening on the first morning of a deal.
A voice, usually a partner or the founder, saying one specific thing about the firm. Not three things, not a list. One thing.
The work, in glimpses. Real people doing real work, briefly, woven in.
A second voice, ideally from someone less senior, agreeing with the first voice in their own language. (This is the trick of the film working: two perspectives saying the same thing in different registers.)
A closing image that lets the viewer settle. The firm walking out of the building at end-of-day. The team in the kitchen. The boardroom emptying.

That's the shape. It's been the shape for a while. There's nothing wrong with following it; the variations come from the specific claim the film is making, not the structural beats.

A note on stock and AI

It's worth saying: a brand film made of stock footage and AI-generated cinemagraphs almost never reads as a brand film. It reads as advertising. The B2B audience is sharper about this than B2C; they've seen the same stock footage of three smiling colleagues at a laptop a hundred times.

If a firm wants a real brand film, the cost of filming the firm's own people in the firm's own spaces is the part of the budget that can't be cheated. Everything else around the shoot can flex. The shoot itself, where the real material comes from, has to happen.

What to expect on the shoot day

A B2B brand film is usually a one or two-day shoot. Crew of three to five (videographer, second op, audio, sometimes a director, sometimes a producer). Multiple locations within the firm: a couple of meeting rooms, a corridor, the kitchen, an exterior. A handful of interviews shot tight, with the firm's people in their own clothes, in their own offices.

Post takes longer than the shoot. Three to four weeks for a hero film and a couple of cutdowns is a realistic timeline. Rushing the edit on a brand film is the most common way to land a perfectly competent film that the firm doesn't love.

What it costs, honestly

Most B2B brand films land in the *£*7,500 to *£*20,000 range in London, depending on crew, locations, post depth, and how many cutdowns are needed. Anyone quoting *£*2,000 for a brand film is quoting an event highlight and calling it a brand film. Anyone quoting *£*60,000 is selling a campaign, not a film. We've written up the underlying budget shape for corporate video if you want the broader picture.

The thing worth knowing is that, if the film is good, the budget pays back over three years of use. The homepage. The partner-page sales tool. The introduction at every internal event. The recruiting kit-out. A *£*15,000 brand film used a hundred times is far cheaper than a *£*2,000 film used twice.

If you only do one thing before commissioning one

Write the sentence. The sentence. One claim, specific, defensible, distinctly true of the firm and meaningfully different from what the firm's nearest competitors would say. If you can write it in a paragraph and not lose it, the brand film almost makes itself. If you can't, no amount of shoot day will fix it.

Brand films are easy to commission. They're hard to earn. The good ones come from the firm being clearer about itself than it usually has to be.