9 ways to work together
Every project is quoted individually, because a one-day commercial and a four-month documentary have almost nothing in common except the person making them.
Documentary coverage, no staging
A day covered as it happens, with two cameras through the ceremony and speeches and one for everything around them. Nothing is re-run for the camera.
The film at the top of the homepage
One film that explains what a business is for. Built from interviews rather than a script, so the voice stays recognisably theirs.
Businesses whose story keeps getting flattened into product shots.
Enquire about brand films
Made to run as paid media
Short-form advertising built for where it will actually play, with safe areas planned from the storyboard so vertical crops are not an afterthought.
Teams buying media and needing the creative to survive the crop.
Enquire about commercial video
For the people who work there
Internal and recruitment films shot on site with minimal disruption — unscripted interviews, real workspaces, and a structure built from what people say.
Longer form, longer schedules
Short documentary work, from access and research through to a finished film. Shot over weeks or months rather than days, usually with a very small crew.
Subjects that need time and trust before a camera helps.
Enquire about documentary filmmaking
Cut on site, out the next morning
Conferences, launches and awards covered by a small crew, with the highlights film edited during the event so it lands while people still care.
One strong idea, executed in camera
Performance and narrative videos built around a single concept and lit for it, with effects done on set rather than added afterwards.
A quarter's worth in a day
Vertical-first content shot as its own production, with a shot list written so pieces can be recombined into more assets later.
In-house teams who need a stock of material, not one hero film.
Enquire about social content
Licensed, insured, weather-aware
Aerial coverage as part of a larger shoot or on its own, flown under a licensed operator with permissions arranged before the crew arrives.
How a film gets made
Whichever service a project starts from, it runs through the same five stages.
A conversation about what the film is for and who has to watch it. Most briefs change in this call, usually for the better.
A treatment, a schedule and a shot list, plus the unglamorous parts: permissions, insurance, and where the light will be at four o'clock.
Small crews, long lenses, available light wherever it holds. The aim is to change the room as little as possible while filming in it.
A first cut for structure, then two rounds of notes. Grade and sound mix happen last, once the shape of the film has stopped moving.
Masters in the formats you actually need, cutdowns for the places they will play, and the selects archived for twelve months.
Describe the project and I will come back with a scope, a schedule and a price — or a recommendation for someone better suited to it.
hello@bjmedia.co.uk · +44 20 7946 0142 · Bristol · London · UK-wide · Europe on request
