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.

Recruitment Film vs. Brand Film: Which One Does Your Firm Actually Need?

Marketing teams commissioning their first corporate film often arrive at the brief with a fuzzy picture of what they want: "something that shows what the firm is like." That sentence covers two very different films, and once the shoot day arrives it's too late to discover which one was really needed.

The two shapes are the brand film and the recruitment film. They look superficially similar, sometimes use the same people on camera, and even share kit on the day. But they're answering different questions, for different viewers, with different conversion goals. Spending the budget on the wrong one is the most common expensive mistake we see.

So here's the difference, sharpened.

The audiences are different people, even when they're the same person

A brand film is shot for prospective clients. A recruitment film is shot for prospective employees. That seems obvious until you remember they sometimes look identical. A junior associate at a competitor firm watching a recruitment film and a senior partner at a client firm watching a brand film both end up on your YouTube channel; they're not the same viewer.

The junior associate is asking: "could I see myself working here, am I good enough, would I be liked, what would my first month feel like." The senior partner is asking: "is this firm credible at our scale, do I trust them with a multi-million-pound mandate, do they look like they could handle the international piece."

Those are different films. They have different shots in them. They have different people on camera. They certainly have different runtimes. (For more on the runtime question, our piece on how long corporate videos should be goes deeper.) The brief that tries to serve both ends up serving neither.

The brand film is about the firm; the recruitment film is about the people

The most useful test we know: who does the camera linger on?

In a brand film, the camera lingers on the work in motion. The boardroom from above. The senior partner walking into a meeting. The strategy diagrammed on a whiteboard. A close-up of contract pages being turned. The face on camera is usually senior, usually composed, usually saying one specific thing about the firm in fewer than 15 words.

In a recruitment film, the camera lingers on the people doing the work. A trainee laughing at someone's joke. Three associates at a coffee machine. A second-seat solicitor mid-sentence in their own office. The face on camera is usually less senior, more honest, more recognisably human. They say more, they ramble more, they're allowed to.

Both films can have the firm logo on the closing card. Everything before that closing card is unmistakably different.

They convert on different timeframes

A brand film converts in the moment of decision. A prospective client lands on the firm's website, watches the brand film at the top of the homepage, and is now warmer for the call that the sales team is about to make. That's the conversion. It happens within ten minutes.

A recruitment film converts on a longer arc. A final-year student stumbles across it on LinkedIn or the firm's careers page, watches it more than once, mentions it to a friend, and applies six weeks later when the firm's window opens. The conversion is hard to attribute and easy to underspend on, which is why most firms underspend on recruitment film. They convert quietly.

This shapes the budget conversation. A brand film that gets watched 5,000 times by 5,000 prospects in its first year is worth a lot. A recruitment film that drives 30 extra applicants is also worth a lot, often more than the brand film, but the firm doesn't always notice.

When you need a brand film

A brand film earns the budget when the firm is:

Refreshing its position after a strategy change, rebrand, or major win.
Trying to lift the perceptual ceiling, going after bigger clients than its current website implies.
Anchoring a campaign with several months of paid push behind it.
Marking an anniversary, a founder's retirement, or another moment where the firm's story is the asset.

Outside those moments, a brand film often goes underused. It sits on the homepage and slowly dates. The firm hasn't changed in a meaningful way; the film is paying rent on a slot that isn't being earned. (We get into this in our piece on B2B brand films.)

When you need a recruitment film

A recruitment film earns the budget when the firm is:

Recruiting at scale: graduate intakes, paralegal cohorts, summer schemes, training contracts.
Trying to broaden the talent pipeline (different schools, different backgrounds, different career stages).
Competing for talent against firms with louder marketing.
Holding open days, careers fairs, university partnerships.

Recruitment films pay for themselves the first time a final-year student watches and applies. The cost-per-application is almost always lower than the firm expects, once it does the maths.

The films can share a shoot day, but not a script

There's a real, if narrow, case for shooting both films from the same shoot day. If a firm is doing a major rebrand alongside opening a new graduate intake, the kit and crew can carry across, and the cost savings can be 30–40% versus two separate shoots.

What can't share is the editorial. Two separate edits, two separate scripts, two separate sets of interviews framed for two separate audiences. The shared shoot day saves money on logistics; it doesn't save money on post. Trying to economise by squeezing both films out of the same edit is the second most common expensive mistake we see, after picking the wrong film type to begin with.

The honest single-line test

Ask one question of your marketing or HR head: "who needs to feel something about this firm by the end of this video?"

If the answer is "a prospective client" → brand film. If the answer is "a future employee" → recruitment film. If the answer is "both" → you actually need two films, and trying to make one is the most expensive answer of all.

That's the test. Everything else, the runtime, the budget, the crew, the interviews, falls out of it neatly.