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.

Graduate Recruitment Videos That Actually Get Trainees to Apply

If you've ever sat through a graduate recruitment video, you already know the problem. It's almost always the same film: drone shots of the office building, three trainees in matching shirts saying the firm has "a real culture of mentorship," and a closing line about being part of "something bigger." Even the good ones blur into each other after the third one.

The frustrating part for early-careers teams is that this isn't actually what the videos are doing badly. The drone shot, the trainees, the closing line: all fine, all reasonable. It's that the videos almost never tell anyone why this firm and not the other three.

The good news is that the fix isn't expensive. It's editorial. Here's what genuinely moves the needle when an early-careers team commissions a film.

Start with the question your graduates are actually asking

Final-year students applying for trainee positions are almost never asking "what does this firm value." They're asking, in some order:

Will I survive my first six months here?
Will I learn anything that I couldn't learn at the firm down the road?
Is the work actually interesting, or is it a glorified spreadsheet job?
Will I be liked by the people I work with?
Is the partner in the corner office someone I'd want to be in ten years?

Those are the questions. A recruitment film that gestures vaguely at "culture" and "values" answers none of them. A film that lets a second-seat trainee explain, in their own voice, what their first month actually looked like, answers four of them in 90 seconds.

That's the brief, more or less.

Pick a small number of real people

The most common mistake on these shoots is to put too many faces in the cut. We've seen briefs that ask for eight trainees, three partners and the head of HR, all in a three-minute film. That gives every person eleven seconds. Nobody is convincing in eleven seconds.

The films that work tend to centre on three or four people, named, with enough screen time for each that the viewer actually develops a sense of who they are. Two trainees at different stages, a supervising partner who genuinely likes their trainees, and ideally one person whose background is a little different from what the firm's marketing usually shows. Four people, properly interviewed, beat eleven people each delivering a sentence and a half.

Let them say the unvarnished thing

The line that lands in a recruitment film is almost always the one that isn't on the firm's website. Something like "the first week I was here I was certain I'd made a mistake, by the third I'd settled in, and by the third month I couldn't imagine being anywhere else." Or "the truth is the hours are long, but the work is genuinely interesting in a way I didn't expect."

These lines are usually the ones the marketing department wants to cut. The good films keep them. They're the lines that make a student think "alright, these people are being honest with me," which is a much rarer feeling for a graduate watching a recruitment film than you'd think.

Show the actual work

A close second to the over-faced film is the under-worked film. Lots of footage of people walking through corridors, almost nothing of anyone doing the job. It's understandable: client confidentiality, NDAs, screens with sensitive information on them. All real constraints.

But there's almost always a workaround. Trainees on a moot. A junior associate explaining a publicly-filed deal at a whiteboard. A team huddle that isn't on a live matter. A view of someone reading at a desk with a real book that you can almost read the title of. Anything that suggests the work is real, beats more shots of glass doors.

The best films we've made in this space all had at least one shot in them that made the viewer think "oh, that's interesting, what is that." Curiosity is one of the best emotional drivers in a recruitment film. The applicant who pauses the video to read the screen is more than halfway to applying.

The shoot itself is mostly logistics

Most of the work in making a graduate recruitment film well is done before the camera comes out. Identifying the right people, doing pre-interviews on the phone so we know what they're going to say, getting the calendar lined up so they're not stressed when we film them, clearing the rooms with facilities, making sure the right offices have a tidy bookshelf in shot. (The same instinct shapes a good case study film: pre-interview properly and the shoot day mostly stays out of the way.)

The day itself is, if everything's gone well, surprisingly calm. We'll typically film three to four people across one day, each in a thirty-minute slot, plus b-roll of the office in use. We'll bring discreet lighting and lapel mics, and we'll try to make the interviewees feel like they're having a slightly more interesting conversation than usual, rather than being put on the spot.

The honest, unstilted moments come from the interviewees feeling comfortable. That's not really about the camera. It's about whether the person on the other side of it is making them feel safe enough to actually mean what they say.

Deliverables: don't forget the cutdowns

A modern recruitment film almost never lives in one place. The hero cut goes on the careers page; that's table stakes. But the version that does the most work is usually the 30-second cutdown on LinkedIn, where the viewer is scrolling on their lunch break and decides in three seconds whether to keep watching.

So plan for cutdowns from the start. Tell us if you need a 30, a 60 and a hero 2-minute. Tell us whether you want vertical for Instagram and TikTok. Each of those is a different edit, and on a busy graduate-recruitment calendar, the cutdowns are often the ones that actually generate the applications.

What good looks like, six months later

The early-careers films we're proudest of are usually the ones where, six months after delivery, the firm's early-careers lead can quote a specific trainee whose film made the applicant ring the firm directly and ask to be put through to that person. That's the marker. Not view count, not engagement rate, not internal sign-off. Did a real graduate watch this and decide to apply because of someone in it.

If that's the bar you're setting, the rest of the brief usually writes itself. Pick the right people, give them room, ask them the honest questions, and edit it so a final-year student can actually see themselves in the frame. The rest, for once, really is just the camera work.