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.

Filming a Corporate Event in London: A Practical Logistics Guide

If your firm is based outside London but holding a corporate event in the city, you'll quickly discover that London adds a particular flavour to a shoot day. It's not harder, exactly, but it's different. The venues are older, the streets are tighter, the loading bays are quirkier, and the things that go wrong are different from the things that go wrong in Manchester or Edinburgh.

We film in London most weeks of the year. Here's the practical stuff we wish marketing teams knew before they booked the venue.

The venue brief: ask the right questions early

Almost every problem we've ever had on a London corporate shoot has its origins in a venue question that wasn't asked early enough. Three to ask, in priority order:

Is there step-free access for kit? A surprising number of London corporate venues, especially the older Mayfair townhouses and converted churches, have a beautiful main entrance and a dispiriting series of stairs to whatever room the event is actually in. A two-camera crew moves about 80kg of kit, and that's before anyone has to carry a lighting case up a stone staircase at 7am.

Is there a loading bay, and what time does it open? Many central London venues operate inside a Restricted Goods Vehicle Window, which is a fancy way of saying you can't drive a van up to the front door at peak times. If load-in needs to happen at 8am sharp, the venue may not let your crew anywhere near with kit until 9.30. Worth knowing.

Where is the green room or talent holding area, and how loud is the air conditioning? A surprising number of central London venues have HVAC systems audible enough to ruin a lapel-mic recording. We've seen "we'll just turn the AC off during the keynote" go badly more than once. Ask in advance whether it's possible, whether the venue manager has the codes, and whether the room is bearable for an hour without it.

Parking: the silent budget line

If your shoot involves a videographer driving a van into central London, congestion charge, ULEZ, and overnight parking can easily add £50–£100 to the day. None of that goes to the videographer; it goes to TfL and to whichever overnight car park is least sketchy.

Most freelance videographers and small crews factor this into the quote, but it's worth asking explicitly so it doesn't surprise the invoice. Likewise, if the venue offers complimentary parking on site, mention it early; it saves the crew a 6am dash to find an alternative.

The unique London thing: the building has a backstory

Almost every interesting London corporate venue has historic protections that affect the shoot. The grade-listed mouldings can't be drilled into. The fire-rated doors can't be propped. The chandelier in the main hall is older than the firm hosting the event and will not be moved.

This affects lighting, especially. You'll often need to bring more lighting kit than you'd think because the venue won't let you supplement with the existing fixtures. Bring it up with the venue's events team a week ahead so it doesn't become a problem on the day.

Sound: the hidden friend, and the hidden enemy

The friend: most large London venues, especially the conference-purposed ones (the Barbican, the British Library, One Birdcage Walk), have professional in-house AV teams who can pull a clean board feed to your crew. This is one of the great underused gifts in London corporate video. (We get into this more in our piece on conference video recording.) Always ask whether a board feed is available; it usually is, and usually for free.

The enemy: the buildings on either side of the venue, especially in central London, can be construction sites at any given moment. We've had to abandon a lapel-mic interview because the building two doors down decided to start demolition at 10am. There's no fix for this; you can only know which way the wind blows on the day, which means knowing the venue's external context in advance.

Catering: yes, this is a logistics point

A two-camera London shoot is a 10-hour day for the crew, often longer for multi-day conferences. The venue will be catering for the delegates; whether they're catering for your crew is a separate question.

Most professional venues are happy to extend catering to the crew if you ask; some require a head-count addition; some won't, in which case the crew will quietly disappear at lunch and you'll wonder where the cameras went. Worth checking before the day. A fed crew is a focused crew.

What the day looks like from our side

For a typical single-day London corporate shoot, the kit van usually parks up near the venue between 7 and 7.30am. Load-in takes 30 to 45 minutes if step-free access is available, an hour or more if not. Sound check happens in the empty room before the audience arrives, ideally with the talent in their final position. We spend the morning blocking shots and confirming b-roll opportunities with the venue's events lead.

The event itself runs as the runsheet dictates. Lunch is usually a quick sandwich shift change so one operator is always in the room. Wrap is the cleanest part of the day, usually 45 minutes to break everything down and load out.

End-to-end, that's an 11-hour day. The two-camera crew is often a videographer plus an assistant (or second operator), and we'll deliver a first cut within two weeks.

A small London-specific cost note

Day rates for London freelance crews run roughly 10–15% above other UK cities, mostly because the kit hire ecosystem, the post-houses, and the talent pool are all in London. That's almost always worth paying: the local knowledge saves a meaningful amount of contingency, the parking comes pre-planned, and the venue relationships are usually pre-warm. (We've written about this in more detail in our budget breakdown post.)

If you're considering bringing a crew from outside the city, factor in transport, overnight stays, and the inevitable London-specific surprises. Almost always the maths comes out in favour of hiring local.

One paragraph, before you book the venue

Confirm step-free kit access, loading-bay timing, AC controls in the talent room, and whether the venue's AV team can pull a board feed. Add congestion charge and parking to the budget. Confirm catering for the crew. Ask the venue about anything historic-listed that constrains lighting. Get the answer to those eight questions before you sign the venue contract, and the shoot day will run itself.