The video production process - from concept to screen

Sometimes it takes one solo operator to make a video. Other times, a team of dozens.

But whatever the case, the same basic process is generally followed.

So what’s the complete workflow from initial concept to delivered content? With some caveats (!) - we’ll explain everything.

You’ll probably be aware that the process is broadly broken down into three stages: Pre-Production, Production and Post-Production.

So let’s do the same here.

Pre-Production 

Commissioning content / writing a brief 

We know that lots of conversations will usually have happened before you come to us.

So what we really need to know at the outset is, what’s your overall objective with the content you’d like to produce?

That enables us to give you our ideas, and answer questions like how much the project will cost and how long it will take to produce. 

If it’s a project that’s going out to tender, you’ll find that the more detailed the brief, the more useful responses you’ll receive in return.

If production companies don’t really understand what they’re pitching for, you’re likely to end up with responses that aren’t really comparable because they’re trying to do quite different things. 

And just as with any other purchase you have to make in your life - don’t assume the cheapest quote is the right one.

Better to choose a partner that can quote accurately and actually deliver the quality product you want, rather than be burnt by choosing a supplier that will over-promise and under-deliver.

Storyboarding and scripting

Oooh, how we love this bit. We’re total geeks when it comes to crafting a narrative for our clients. We will take all the information you give us - whether that’s bullet points, links, even just some stream of consciousness thoughts about what you want the video to be - and use our experience and expertise to turn that into a storyboard that will blow you away. 

We know the structures that work, the tricks that really engage and the creative approaches that make audiences stop in their tracks. 

We’ll also write a really cracking script that will demonstrate how well we’ve understood your objectives. If we’re doing something unscripted - like a case study interview - we’ll give you bullet points that show you how we’re planning to shape the narrative. 

Whatever the case, this is a great point in the process to ensure that everyone is aligned on the overall direction of the film - and to iron out any potential snags around the messaging. 

This is also the point where we want to agree on any static or motion graphics that will go into the finished film, and share mock-ups where necessary. 

All of this gives the production team the building blocks they need to then get the rest of the logistics sorted ahead of the shoot. 

The logistical stuff

So now we’re clear on the “why”, we get into the business of answering the other classic questions that all journalists are taught to ask: who, what, when and where. 

This is the point where we’ll arrange the crew for the shoot, choosing the most qualified and best-equipped team for the particular job in hand. On some shoots that’s pretty straightforward, but on others we might need to book a steadicam operator, drone operator, soundie, gaffer or anything in between. 

We can help source and book spokespeople where needed, giving any nervous interviewees a reassuring briefing before the shoot and ensuring everyone involved is primed and ready to go. 

And if we’re filming an ad that requires actors, we’ll also handle the casting process with our casting agent, working with you to shortlist and then audition so we can all be sure we have the right people for the job.

We’ll work out what equipment is needed for the shoot, whether it requires props or set dressing, and then source and book a location for the shoot if that’s needed. That will also involve a process of shortlisting potential options and getting client sign-off on the final choice - sometimes following a site recce carried out by the production team. 

We’ll then lead on the scheduling side, ensuring that everyone involved from the crew and talent to the client side team is aligned and happy with the shoot date(s) and timings. We know that sometimes clients are unsure how much time to allow for different aspects of the shoot - whether that’s filming interviews or gathering additional b-roll - and so we’ll provide a timetable that’s achievable whilst also maximising everyone’s availability on set. That will then be turned into a call sheet sent to everyone who’ll be there on the day, giving location details, arrival times and information about things like First Aid and catering on set. 

Treating the process with respect

And then there is what you might describe as “the paperwork”.

A lot of production companies won’t really mention this when they talk about the production process - and we know that some of them can be a bit lax when it comes to this side of things - but it’s really, really important. 

Whether it’s ensuring that comprehensive risk assessments have been carried out, that the right permissions and consent have been secured from contributors or that correct consent has been given by location owners, we make sure that everything has been put in place to ensure that our shoots are safe and that everyone involved is completely clear about what is happening and why. 

As far as we’re concerned, that’s simply the correct process that has to happen. If people are prepared to appear on camera on one of our productions, the least we can do in exchange is ensure they are kept safe, are treated fairly, and that they have given informed consent. And we expect any client we work with to respect this process too. 

These things are especially true when we’re working with vulnerable people or children.

So - everyone is ready, the location is booked, the crew are on their way - it must be shoot day. 

Production 

We put a lot of effort into our pre-production process so that our shoots run smoothly and everyone is able to relax and enjoy the process, knowing that the foundational thinking has already happened.

Our shoots will be led by one of our directors, who has been fully involved in the entire production process and whose job it is to ensure that everything happening on the shoot is in the service of the client’s objectives and our agreed creative vision.

The crew know exactly what’s required of them and will liaise with the director throughout the shoot so that everyone involved is confident that we’re getting the material we need to bring the vision to life. 

The director will also usually be the one to interview contributors on the shoot, using their extensive skills and experience over many years to make sure they put contribs at ease and get the very best out of them.

That’s not to say that things don’t change on a shoot of course - and so it’s also really important that we’re flexible and adaptable, able to roll with whatever the situation throws at us. That can be anything from unhelpful weather to a late-running contributor - although most often it’s because of an unexpected sound issue, like a sudden change to flight paths or a newly-started next door renovation.

But we’ve seen (and heard) pretty much everything over the years, so you can be confident we’ll be able to find a solution that keeps everything on track. 

Once the director has called wrap, the contributors are released and the crew start the process of packing up - and most importantly, dealing with the filmed content or rushes.

We ensure that everything we’ve shot is copied off cards onto hard drives in duplicate, and correctly labelled so that the editor will know exactly what’s what. 

Post-Production 

This is the point where all of the filmed material plus any stock footage, voiceover and music track are brought together with graphics to create the first cut. 

Depending on the complexity of the project, we’ll often start by doing what’s called a “paper edit” - this essentially means we will transcribe all the interviews, choose the clips we’re proposing to put in the edit, and present this to client in an updated version of the existing storyboard.

This can be a really helpful way of eliminating potential issues which can be harder to resolve once you’re into the edit proper, and again ensures that the client is really clear about what they will be getting. 

The editor will of course be following the storyboard - but this is also the chance to show what really excellent editing skill is about. It’s something that’s hard to teach and comes from years of experience: the ability to create the “beat” of the story, knowing exactly when to cut and when to let things breathe, when to let the music do more of the work and when to let the gorgeous b-roll sing. 

The shoot director and producer will work closely with the editor across this process, helping them understand some of the decisions that were made on the shoot day and ensuring the overall creative vision is on track. 

Once we’re happy we’ve got something in a good place to share with the client, they’ll receive the first (rough) cut. They’ve got the chance to collate the feedback on their side, and then it’s back to us for the second (fine) cut.

A second round of consolidated feedback follows, then we create the master file(s) to share with the client for distribution. These will also have been sound mixed and colour graded - and often subtitles are added before final delivery. 

Once again - if we’ve done our job properly in the earlier stages of the process, we shouldn’t be expecting extensive or unexpected feedback because everyone’s been on the same page right the way through. 

Then it’s the really fun part: seeing the finished film(s) being released “into the wild”, engaging with audiences and watching the viewing figures rise. 

We’re really proud that so many of our clients who started with a one-off project have ended up coming back to us again and again. It means we can work with them over time as true partners in content creation.

Ready to tell your story? Get in touch with us today for a no obligation chat.