A corporate film cannot be reliably priced by the minute alone. Audience, script, locations, crew, shoot days, post-production and licensing define the resources required. This guide connects budget planning with practical production questions.
Break the budget into four parts
The first part is planning: briefing, research, script, storyboard and shot list. The second is production: shoot days, camera, lighting and sound crew, equipment, locations, casting, styling and travel. Not every project needs every item, but required items should be explicit.
The third part is post-production: editing, colour, sound, subtitles, voice-over, animation and 3D. The fourth is rights and versions: music or image licences, publishing channels, usage period, languages, landscape and portrait outputs, and future updates. Compare revisions and delivery files as well as the total.
Films of the same length can need different resources
A company introduction based on interviews in one location may need very different preparation from a film combining several locations, product demonstrations and animation, even at the same length. This comparison explains production choices; it is not a fixed-price formula.
If there is a budget ceiling, prioritise the message, review usable existing material and locations, then consider consolidating the shoot. Reducing versions or effects complexity may be more practical than skipping essential planning. Agree on adjustments before approving the quote and script.
Three questions to settle before commissioning
You can inquire without a script. Explain who the film is for, where it will appear, what viewers should do next, and which people, products and locations are available. WEDO can then discuss a suitable narrative and production approach.
Does the quote include raw footage, English subtitles or later advertising cutdowns? None can be assumed from “one corporate film.” Confirm usage, formats, rights, retention and how additional work would be quoted.
Can we talk before we have a script?
Absolutely. Share a short introduction to your brand or event, your audience, intended use and deadline. If you have reference films, tell us what you respond to: the pace, colour, interview style or overall feeling.
References help set a direction. Being specific about the feeling you want makes it easier to find an approach that fits your own brand.
What shapes a production budget?
Creative development, shoot days, locations, crew, equipment, cast, animation and post-production all affect the cost. Two films of the same length can require very different resources.
A budget range helps us prioritise the most valuable shots and versions. Agree on voiceover, subtitles, music, revisions and source-file delivery when discussing the scope.
Does a longer film tell a better story?
Running time should follow the audience and setting. An exhibition loop, a website introduction and a social film serve different viewing habits. Start with one central message, then plan the main film and shorter edits around it.
How long will production take?
Locations, contributors, event schedules, travel and post-production complexity determine the timetable. After filming, footage still needs organising, editing, subtitles, colour and sound work.
If you have a launch date, work backwards from it and allow time for internal review and final approval. The actual schedule is agreed for each project.
When should we request vertical and short versions?
During planning. Aspect ratios affect framing, positioning and subtitles; a vertical edit may also need a different rhythm. List the intended channels early so we can capture the coverage each version needs.
What should we agree on before delivery?
Confirm the number of films, resolution, aspect ratios, subtitle languages, revision rounds and whether source footage or project files are included. Different deliverables involve different preparation.
Ask one contact to consolidate review notes with timecodes and reasons for each change. Clear feedback keeps the versions and the conversation manageable.