Property video production for developers, London

Forty three per cent of the new London office space due to complete in 2026 was already let before it was finished. That figure is Avison Young's, published in February 2026, measured across 5.9 million sq ft under construction.

Read it as a deadline rather than a statistic. On a large part of the London pipeline, the decision that fills the building is made while the building is still a site. Which means the marketing that has to influence that decision cannot wait for practical completion either, and on most schemes it does.

We make film for developers, landlords, asset managers and the leasing teams working alongside them. Offices, mixed use, regeneration and workplace. Schemes in planning, schemes behind hoarding, schemes at handover, and schemes already let that need to hold their value.

The work behind that

Film House, Soho, for Hines. Hines was turning an eight storey Art Deco block on Wardour Street into around 96,000 sq ft of Grade A workspace. For most of that programme, what an occupier could see from the street was a hoarding.

So we did not film it once. Between September 2025 and March 2026 we went back six times, and every visit produced its own film: the concept, the architecture, the amenities, the building's history, a day in the life, and the streets around it. Stakeholders came into the films while the project was live and the decisions were still being argued. The letting agents ended up presenting on camera themselves. The building let in full, with Microsoft's UK AI teams taking the whole of it. Read the Film House case study.

The Race to Olympia, for Olympia London. Connectivity is the hardest claim to prove in a leasing deck. Everybody makes it. Nobody watches a map. Working with Want Marketing, we made a six film social series built as a race: four property agents, from Savills, Cushman & Wakefield and CBRE, setting off from Piccadilly Circus, Paddington, Bond Street and Clapham Junction, racing to the estate by Tube, bike and Overground. The agents pushed it out through their own profiles and their firms' pages, which is the point of casting the people who actually do the letting.

Also on the list: Savills, CBRE, Cushman & Wakefield, RX London, Deliveroo. Whatever the scheme is, the odds are we have worked the same problem at the same size.

The four windows, and what film is for in each

Most suppliers sell a service list. A development is better thought of as four windows, because what film can do changes completely between them, and so does what it is worth.

Off plan, before anything is visible. CGI carries the design intent. Film carries everything CGI cannot: the location as it really is, the streets, the transport, the neighbours, the reason this postcode and not another. The argument at this stage is about the address and the ambition, and film is better at ambition than a render is.

During construction. The most valuable window and the one almost everybody skips. A building in build reaches states it will never be in again: a floor where the original frame is still legible next to the new intervention, a shell that becomes a finished room inside a month. Film it in the week it looks like that and you can cut the before and after together. Come back after handover and you are describing the interesting part in a caption. This window also gives you something to publish steadily, so the scheme stays in view across a programme measured in years rather than arriving in one drop. How an in build journey film runs.

Practical completion. The building at its best, empty and finished, shot once and properly. This is the hero film and the walkthrough that a leasing campaign is built around, and the one asset that will be sent, forwarded and embedded more than any other. Leasing and marketing films.

Let and occupied. The building working. Occupier stories, amenity in use, the day to day evidence that the promises made in the brochure were kept. This is what holds value on the next rent review and what sells the next scheme in the portfolio.

A developer who films all four ends up with a body of work rather than a film. A developer who films only the third has the same asset every competing scheme has, produced in the same fortnight, saying the same things.

What we actually make

Pre launch campaigns. Content made while the building is still being built and released across the programme, so the market is warm before the doors open. Pre launch campaigns.

Leasing and marketing films. The hero film and the walkthrough: what the space is, how it works, why it is worth the rent. Built to be sent by an agent and forwarded internally by an occupier, and watched to the end by both.

Aerial. The site in its city, the roofline, the connectivity argument, the progress record across a build. Aerial and drone.

Social and short form. Vertical cuts made for LinkedIn and Instagram rather than cropped out of a landscape film and hoped for the best. This is what keeps a scheme visible in the months between milestones. Social and short form.

Stills on the same visit. Photography shot alongside the film, so the brochure, the particulars and the feed all come out of one attendance rather than three.

Filming a site that is still being built

The reason most production companies would rather film after handover is that a live site is genuinely harder, and the difficulty is not photographic.

The recce decides the shoot. On a construction programme the wrong fortnight yields nothing usable. A building can look identical for a month and then change completely in two weeks. Knowing which weeks are worth attending is most of the value, and it comes from talking to the project team rather than reading a programme.

Site rules come first. Inductions, PPE, method statements, insurance documents and a named contact on the contractor's side. We do that paperwork before the day rather than at the gate, because a crew standing in a welfare cabin at eight in the morning is the most expensive thing on a shoot.

Access windows are somebody else's. The programme belongs to the contractor. Filming fits around pours, deliveries and trades, not the other way round, and the schedule has to be written that way from the start.

Aerial over a live site needs settling in advance. Airspace, landowner permission and the right operating authorisation for the location, agreed before the day rather than argued on it. In central London that is a planning job, not a flying job.

People need warning. If stakeholders or agents are going to appear, they need to be asked when the diary is being set, not on the morning. Half of what makes an in build film good is that the right person was on site the day the camera was.

What it costs, honestly

More depends on scope than on length. A single launch film for one building, a scheme campaign with a walkthrough and social cuts, and a two year programme running alongside a build are three different commitments, and the thing that moves the number is how many attendances it takes, not how many minutes come out.

We publish three commercial tiers so you can see the shape before you talk to anyone, and the quote builder asks about location, scale and speed because those are what actually move it. See what is in each tier, or read what a development film costs and what moves it.

Questions developers ask

How long from first call to delivered film? Most commercial schemes go from scoping call to delivered film inside a month. Editing runs to ten working days for a standard commercial delivery and fifteen for a larger campaign film, with two rounds of revisions built in rather than treated as a favour. A pre launch campaign runs alongside the build for as long as the build does.

Can you film while the contractor is still on site? Yes, and it is a large part of what we do. It needs the recce, the inductions and the contractor relationship described above. What it does not need is the site stopping.

We have a phased scheme. Does that change anything? It makes the case stronger. Phased delivery gives you launch moments spread across years, and the material from phase one is what pre sells phase two. The planning question is which phases justify their own films rather than whether to film at all.

Film or CGI for an off plan scheme? Usually both, doing different jobs. CGI shows what the building will be. Film shows what is already real, which by the pre launch window is a great deal: the structure, the volumes, the view, the street. An occupier can tell the difference between a render and a room. Video against CGI for off plan schemes.

What formats do we get, and can our agents use them? Landscape masters, vertical cuts for social, stills, and the shorter versions a leasing team will actually send. Agent and joint agent use is normal on a scheme campaign and we set out the licence in the quote rather than leaving it to be discovered later. If a joint agency or an investor partner needs to use the material, say so at brief stage and it gets written in.

When should we start? Earlier than most schemes do. The decisions that fill a building are made while it is behind hoarding, and the material you will want at launch is being covered up and finished right now. It cannot be reshot. Why developers should market before launch.

Talk to us about the scheme

Tell us the scheme, the completion date, who the film has to persuade and where it will be used. That is enough for us to tell you what is worth filming and, just as usefully, what is not.

Build your quote, and you will usually have a figure back the same day.

Marketing a scheme outside London? We cover commercial property video in Manchester and the North West from our Altrincham base, and the commercial services overview sets out the full picture.