Commercial property video production, London (/services/ rebuild)
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You are marketing a commercial scheme in London, and the deadline is not the film. It is the letting, the launch, the board update, the moment an occupier's shortlist gets written.
We make films for the people responsible for that: developers, landlords, asset managers and the leasing teams working with them. Offices, mixed use, regeneration, workplace. Schemes in planning, schemes behind hoarding, schemes at practical completion and schemes already let that need to hold their value.
What we sell is not a shoot day. It is a scheme that arrives in the market already meaning something, material a leasing team is willing to send, and a building that looks on screen the way it looks when you stand in it.
Trusted on schemes like these
Hines. Olympia London. Savills. CBRE. Cushman & Wakefield. RX London. Deliveroo.
That work runs from pre launch campaigns on West End refurbishments to the film series behind one of London's largest regeneration projects. It is the reason the first conversation is usually short: whatever your scheme is, we have almost certainly worked on the same problem at the same size.
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, and while the work was going on what anyone could see from the street was hoarding. The commercial case for the building was at its most persuasive precisely when the building was least presentable.
So we did not film it once. We went back six times, and each visit produced its own film: the concept, the architecture, the amenities, the history, a day in the life, and the neighbourhood around it. Stakeholders came into the films while the project was live, and the letting agents ended up presenting on camera themselves. The scheme let in full, with Microsoft's UK AI teams taking the entire building.
Read the Film House case study, or see how filming across a construction programme actually runs.
The Race to Olympia, for RX London
Connectivity is the hardest thing to prove in a leasing deck. Everyone claims it. Nobody watches a map.
Working with Want Marketing for Olympia London, we made a six film social series built as a race. Four property agents, from Savills, Cushman & Wakefield and CBRE, set off from Piccadilly Circus, Paddington, Bond Street and Clapham Junction by Tube, bike and Overground, and raced to the estate. A forty second trailer launched it, four journey films followed, and a finale cut all four routes together against a timer.
The series ran well over a thousand likes and dozens of reposts, and the agents pushed it out through their own profiles and their company pages. That is the point of casting the people who do the letting: the campaign travels through their networks, not just the landlord's.
What we make for commercial schemes
Pre launch campaigns. The differentiator, and the thing most schemes miss. Content made while the building is still being built, released steadily across the programme, so the market is warm before the doors open rather than being introduced on day one. Light, milestone led or full, depending on how much programme is left. Pre launch campaigns.
Leasing and marketing films. The hero film and the walkthrough that carry a letting campaign: what the space is, how it works, why it is worth the rent. Built to be sent by an agent, forwarded internally by an occupier and watched to the end by both. Leasing and marketing films.
Aerial and drone. Context that a ground camera cannot give: the site in its city, the roofline, the connectivity argument, the progress record across a build. Flown legally, planned around the airspace London actually has. Aerial and drone.
Social and short form. Vertical cuts made for LinkedIn and Instagram rather than trimmed from a landscape film and hoped for the best. This is what keeps a scheme visible in the months between milestones. Social and short form.
Photography on the same visit. Stills shot alongside the film, so the brochure, the particulars and the feed all come from one attendance rather than three. Property photography.
How a commercial project runs
One. The scoping call, usually the same week. We want the scheme, the completion date, who the film has to persuade and where it will be used. That is enough to tell you what is worth filming and, just as often, what is not.
Two. Recce and schedule. For an occupied or live site this is the step that decides everything: access windows, contractor coordination, permits, which weeks of the programme will actually yield material. On a construction site the wrong fortnight produces nothing usable.
Three. Filming. A full day on site for most commercial schemes, aerial included where it earns its place. On a pre launch campaign this is a repeating visit rather than a single event.
Four. Edit and delivery, ten working days. Hero film, walkthrough, vertical cuts and stills, with two rounds of revisions built into the process rather than treated as a favour. Larger campaign films run to fifteen working days.
Most commercial schemes go from first call to delivered film inside a month. A pre launch campaign runs alongside the build for as long as the build does.
What a commercial project costs
We publish three commercial tiers. Essential covers a single property launch: a hero film of sixty to ninety seconds, vertical social cuts, edited stills, delivered in ten working days. Signature is where most schemes land, and it is built for development and scheme marketing: hero film, walkthrough or tour film, ten to twelve vertical cuts, thirty edited stills, aerial included, two rounds of revisions, ten working days. Flagship is the full campaign or brand film: a campaign film of two to three minutes, walkthrough, fifteen to twenty vertical cuts, fifty plus stills, aerial and a property microsite included, delivered in fifteen working days.
Location, scale and speed move the number, which is why the quote builder asks about them. See what is in each tier, or build your quote and get a figure back, usually the same day.
Commercial property video, answered
What does a commercial property film cost? It depends far more 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 pre launch programme are three different commitments. The tiers above give you the shape, and the quote builder gives you a figure. We have written up what a development film actually costs and what moves it.
Film or CGI for an off plan scheme? Both, usually, and they do different jobs. CGI shows what a building will be. Film shows what is real now, 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.
When should we start filming relative to launch? 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.
How does video fit a leasing campaign? As the thing an agent sends after the meeting and the thing an occupier forwards to the people who were not in it. The film does not replace the agent. It travels to the people the agent never gets in a room. How video supports a leasing campaign.
Let's talk about your scheme
Tailored quotes based on scope, location and deliverables, usually back the same day.
Marketing a commercial scheme outside London? We also cover commercial property video in Manchester and the North West from our Altrincham base.
Got a scheme to market?
Let's talk about the film and the campaign around it.