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.

Corporate Video on a Budget: What You Can Skip, What You Cannot

Not every corporate video brief arrives with a £15,000 budget. Most don't. The good news is, a smaller budget doesn't have to mean a worse film, as long as the cuts come in the right places. The less-good news is that which cuts you make matters far more than people think. Skimp on the wrong line and the film looks cheap; skimp on the right line and it just looks tighter.

So here's what we'd say to a marketing team with a serious-but-modest budget: where you can genuinely save, and the three things you absolutely cannot.

Where you can cut without anyone noticing

Crew size. A two-camera shoot is roughly twice as expensive as a one-camera shoot, all else being equal. For most short-form films, a single experienced operator with a planned shoot list will get you 90% of the result. Where you genuinely need a second camera is multi-speaker conference panels and live events where you can't ask the speaker to repeat themselves. Most interview-led work, recruitment films included, are perfectly fine on one.

Drone, slider, gimbal kit. B-roll shot with specialty kit reads as polish, but very rarely as story. A film that opens with a drone shot of the office building looks expensive; a film that opens with a partner saying something genuinely interesting looks like it cost twice as much. The shots people remember almost never come from the fancy kit.

Number of cutdowns. A hero film plus four cutdowns (vertical, square, 30-second, 15-second) takes meaningful additional edit time. If you're only running one channel, ask for just the hero plus one cutdown. You can always commission more later. The original master is sitting on disk.

Locations. Filming across three locations doubles a day; across four, triples it. If the brief allows, pull everything to one location. Most corporate films don't gain anything from variety; they gain from coherence.

Music licence tier. The difference between a £50 stock track and a £500 commissioned piece is real, but it's almost never the difference between a film that works and one that doesn't. Save the commissioned-music budget for the brand film, not the case study.

Talent voiceover. If the film has a voiceover, a competent in-house person reading a tight script almost always works. Hiring a professional voice talent adds £500-£1,000 and almost never changes whether the film converts.

The three things that always have to stay

Three things, in our experience, almost never survive being cut without the film visibly suffering.

One: audio

A lapel mic on every speaker, with a backup audio recorder, is genuinely non-negotiable. Audio is the single most expensive thing to fix in post; if you start with bad audio, no edit will save it. (Our piece on conference video recording goes into this in more detail.)

The good news is, audio is cheap to do well. The mics involved cost a few hundred pounds. The skill cost is real but small. A *£*1,500 day with proper audio sounds more professional than a *£*5,000 day with audio recorded on the camera's onboard microphone. So don't let the audio line be where the budget closes.

Two: edit time

Editing is the silent budget line and the place a tight quote almost always cuts. A 2-minute highlight film cut in three days will look different from one cut in seven, for the same shoot. The frames are the same; the rhythm, the music sync, the colour, the audio mix, the cuts: those are all the edit, and the edit needs time.

If you're trimming the budget, trim the shoot day before you trim the edit. A confident single-camera operator with five edit days will deliver a film that lands. A two-camera shoot rushed through post in 48 hours almost always feels rushed, even if no one can quite say why.

Three: pre-production

The cheapest thing on the entire project is the time spent planning it. A 30-minute pre-interview with the talent. A 15-minute call with the venue contact. A run-of-day shared the morning of. These are zero-cost things that prevent shoot days from going sideways. The temptation, when the budget is tight, is to skip them. Don't.

A budget shoot with proper pre-production looks like a planned shoot. A budget shoot without pre-production looks like a budget shoot. The difference is hours, not pounds.

The shape of a real budget shoot

To make this concrete: a *£*2,500 day, well scoped, looks something like this. One experienced videographer with their own camera and one lapel mic plus a shotgun. One location, half a day to shoot, half a day to do b-roll and a brief piece-to-camera. Three days of edit, delivered as a 90-second hero film with captions. Two rounds of feedback. Three weeks from shoot to final.

That's a perfectly respectable B2B film for the right brief. It won't win awards, but it'll do the work it was hired to do: introduce the firm, support the next sales call, make the homepage feel less generic. For a lot of marketing teams that's exactly the right brief.

The same *£*2,500 spent badly looks like: a one-day shoot with poor audio, no pre-interview, a rushed two-day edit, no captions, and a 90-second cut that sounds like it was filmed in a tunnel. Same budget. Completely different result.

When the budget is genuinely too small

Sometimes the budget really isn't enough for what you're trying to do. The honest answer in that case is to scope the brief down, not the quality. A 30-second piece done properly is almost always better than a 3-minute piece done cheaply.

If the budget is, say, *£*1,500, don't try to make a hero brand film. Make a 30-second LinkedIn intro to one of your partners. Or a single recorded session from your next conference. Or three crisp portrait headshots for the leadership team. Pick a piece of work that's actually within the envelope, and deliver it well.

That's almost always more useful, downstream, than a *£*1,500 attempt at a *£*5,000 film.

The honest, single-paragraph version

If you have a real budget but it's not luxurious, the move is: spend it on audio, edit time, and pre-production, and cut everything else. One camera instead of two, one location instead of three, stock music instead of commissioned, a tight 90-second hero instead of a sprawling 3-minute one. That's a film that punches above its budget, and it's almost always the right shape for a first commission.

If you want to talk through where your budget actually lands on the spectrum, the budget breakdown post sketches the bands, and our briefing guide covers what to send before any number gets quoted.