An In-Depth Guide to Brand Video Production
by Alonso Mayo
Are you ready to collaborate with a video production partner and make a video or series of videos for your B2B or B2C business or nonprofit organization? This in-depth guide outlines the six stages of a typical brand video production workflow.
Even though every brand video should be unique to the needs of you, the client, the stages in the production workflow remain consistent. Understanding these stages is key to successfully collaborating with a video production partner. And I further emphasize "collaboration" because no matter if it's a simple or complex project, for it to succeed, it needs to be an active collaboration between both sides.
For this guide, we're assuming:
You've already decided what type of video you need (for example, a brand introduction video, a case study, a branded series, etc.). You can also read our guide: How to Use Video in Your Marketing Strategy.
You've already asked yourself some basic questions about your video project and your brand (What is your brand identity? What is the story you want to tell? Who is the target audience? What is the call to action? What is your budget range and timeline?). You can also read our guide: 5 Questions to Consider Before Making a Brand Video.
You've already decided what type of video production partner you need (for example, a freelancer, a video production company, or an agency). You can also read our guide: How To Choose a Video Production Partner.
These are the six stages of a typical brand video production workflow that we will outline:
Strategy
Development
Pre-Production
Production
Post-Production
Distribution
Although different video production partners might group some of these stages or call them by other names, the order is always rock-solid since each stage feeds off of the previous one. We will mainly focus on our experience with documentary-style brand content, although the stages equally apply to fiction-style video ads, albeit with some added steps.
Of course, the responsibility for the stages will depend on which type of video production partner you choose. For example, if you opt for a purely "shoot and edit" freelancer or use an in-house marketing team with limited capabilities, you, the client, will have to do a lot of the heavy lifting. While if you opt for a full-service video production company or a creative agency, they should lead all stages and guide you through the whole process.
Now on to the stages!
1. Strategy
This stage is crucial but is many times overlooked or rushed. Even though it's usually grouped in the development stage, or sometimes even as part of the pre-production stage, we like to give it its own stage due to its importance.
The main goal of the strategy stage is to get you and your video production partner on the same page about what you're making together. After all, each side views the project from a different perspective. While you will have clear objectives for the project, your video production partner has to translate this into an engaging story and tell it with a particular tone and style.
Of course, there might have already been discussion about many points during the production partner selection process, but now is the time to go in-depth into each point. If this stage is rushed, it could result in miscommunication, project delays, budget overages, or even worse, a video that doesn't meet your objectives.
First, the basics: you and your video production partner need to decide who will be the main points of contact for the project, if there are additional people who need to be looped in, and the preferred communication method.
Some of the questions that need to be answered or clarified at this stage include:
What are the project objectives?
What is the story? Who is the protagonist? What is the problem? What is the solution?
Who is the target audience?
What should the tone and style be?
What is the call to action? What do you want the audience to do after watching the video?
What is the project timeline? Is there a set date for the shoot or the release?
Are there any specific production requirements like voice-over, animations, or visual effects?
What are other expected deliverables, like photography, social media cuts, or subtitles?
Who will be responsible for video marketing efforts, like paid promotions or ad campaigns?
Some additional points that your video production partner should be clear about, depending on the type of project, could include:
What is your field, and where does your brand fit in that field?
What are your brand's mission and values? What is your brand story?
What is your brand identity? What is your brand voice and style?
Are there any changes that you want to make to your brand identity?
Who are your competitors, and what are they doing in the video space?
On simple projects, this stage could be resolved in a single meeting. For more complex projects, this stage may require multiple meetings and possibly benefit from drafting a strategy document or updating the project proposal, so you and your video production partner are confident that you are on the same page.
Some things that you can do to prepare for this stage include:
Sharing documents, like presentations or your brand style guide, that will help your video production partner understand your brand and project better.
Sharing reference videos that you like, either for story, tone, or style, with your video production partner.
Being clear on how you will internally manage the project, including who needs to be involved in decision-making if that person is not the main point of contact.
At the end of this stage, your video production partner should be able to confirm that the project budget and timeline are in sync with the project objectives. If they are not, now is the best time to tweak the general strategy or the budget.
2. Development
Once you and your video production partner are on the same page about project objectives, story, tone, and style, the next stage is the development or writing stage. In this stage, your video production partner should flesh out the story in a "project document" that is easy to understand and visualize and includes all agreed-upon elements, divided by unique video segments or “scenes.”
Depending on the type of project and its complexity, the document could be:
An outline: a document written in simple prose or bullet points describing every scene.
An A/V Script: a document with two columns, one for "audio" and one for "video," which describes what the audience will see and hear in each scene.
A Storyboard: for complex projects, sometimes a storyboard is created in addition to an A/V Script. A storyboard is a document made up of simple illustrations representing all the key moments in each scene, using the same camera angles that will be captured during production.
Regardless of which project document is used, the key elements that need to be covered are:
Structure: it should be clear, at the very minimum, what the beginning, middle, and end are, and ideally, go into as much detail as possible about each scene.
Visuals: it should be clear what the audience will "see" in each scene, be it interviews, b-roll or supporting images, or other visuals.
Audio: it should be clear what the audience will "hear" in each scene, be it interview audio (including topics covered or sample questions), voice-over, scripted dialogue, or other audio.
Tone and style: it should be clear what the project's tone and style will be. For simple projects, this could be included as part of the outline or A/V script. For more complex projects, sometimes a "tone and style document" is drafted to fully communicate the look and feel of the video, including reference images.
Once the first draft of the project document is ready, it's time for feedback and rewrites. This step is crucial because the goal of the project document is to have a blueprint for the video. Every decision on the project document will inform production choices with budget and scheduling ramifications. Because of this, it's common to go through several feedback passes.
This stage is complete when you and your video production partner are satisfied with having a solid, detailed plan that reflects project objectives. Of course, there might always be changes once production is underway to account for unexpected challenges or unforeseen opportunities. However, it's best practice to try and make any significant changes while the project is still "on paper."
Additionally, getting an official "sign-off" through email confirmation or an actual signature is always a good idea. The project document, once approved, should be seen as a contract in its own right, and any deviations should be communicated and approved to keep both sides in sync through project completion.
3. Pre-Production
Once the project document is approved, it's time for the next stage: pre-production. The pre-production stage involves all the preparations needed for the shoot. In most documentary-style projects, there is quite a bit of involvement from the client side since filming usually requires using client personnel and locations. In contrast, in fiction-style projects, much of the filming might be done independently, with the client purely in a supervising role. Regardless of project type, the first decision is to approve the production schedule.
Once the dates are locked, your video production partner will have a long list of preparations for the shoot, including:
Scheduling needed crew members. For simple documentary-style projects, this might include anything from a "one-man band" filmmaker to a team made up of a director/producer, a cameraperson, and an assistant. For more complex projects, this might include a dedicated producer, director, multiple camerapersons, assistants, a soundperson, a hair/makeup person, etc. The list can grow larger for fiction-style projects to include many more dedicated positions.
Renting equipment. For some projects, the video production partner might need to complement their own equipment by renting additional gear, including cameras, lenses, lights, and other production tools. Usually, clients should defer equipment choices to their video production partner unless there are specific project requirements.
Securing locations. Every location used in the video needs to be secured, be it from the client side or external. Additionally, your video production partner might suggest renting a dedicated photo or film studio for interviews. In fiction-style projects, usually, every location needs to be rented or “built” in a film studio.
Securing any required filming permits.
Making travel plans, including flights, hotel, and car reservations, if needed.
Additionally, your video production partner may also prepare the following:
A list of shots needed for each scene, or "shot list."
A detailed list of questions for the interviews, if applicable. They may also request to schedule pre-interviews with the subjects to help prepare the final interview questions and discuss wardrobe choices.
Even if it’s not possible to schedule pre-interviews, it’s crucial to go over wardrobe choices with anybody appearing on camera. Usually, you will want subjects to appear as close to their “typical” look as possible. But whatever the choice is, it’s always good to bring it up beforehand so you don’t have any surprises on the day of the shoot. The same goes for hair and makeup choices, especially if you don’t have a dedicated hair/makeup person. Some specific wardrobe considerations to keep in mind include:
Avoid bright white clothing as it can reflect light (in a bad way), as well as thinly striped or thinly patterned clothing, as it can create a distracting “moire” effect on camera.
Avoid clothing with big company logos or other texts (unless it’s your own).
Bring several clothing options if possible, as one might look better on camera than the other.
Your video production partner might also request a site visit or "tech scout" to view your business locations with an eye towards film-specific requirements, including:
Lighting needs. For example, finding out if they can use natural light or need additional lighting in particular locations.
Interview location. For example, to ensure it is big enough for the lighting gear, that the background works, and that there are no noise issues that might hinder audio recording.
Some things that you can do to prepare for this stage include:
Coordinate internally to ensure all needed personnel and locations are available and reserved for the shoot dates, and get any approval if necessary.
Decide if the interview question list prepared by your video production partner, if applicable, needs to go through an internal approval process and secure the approval.
Assign a company point of contact for the actual shoot, either to be physically present or available for any needed coordination during the shoot.
Decide if any company representatives need to be present during the interviews. If required, it's always good to let your video production partner know so they can prepare a video monitor.
At the end of this stage, your video production partner will usually prepare a "call sheet" or a document that outlines every scene that will be shot each day, broken down by timeframes. The call sheet usually includes the location information, the video production crew list, contact information, and any specific equipment, location, or wardrobe requirements.
4. Production
The actual shoot, or physical production, is the culmination of a lot of preparation and should be a highlight of the project. This is when all the material needed to edit the project is captured, which is of utmost importance because if something isn't shot, it won't be included in the finished project (unless it's animations, graphics, or stock footage).
But as fun as shoots might be and as smooth as they usually go if your video production partner has been diligent with pre-production planning, "life" always happens. There might often be hiccups like uncooperative weather, scheduling issues, locations that aren't ready, or equipment "bugs." Sometimes, some of these problems might escalate and force delays. Experienced filmmakers know that a calm attitude goes a long way, and "thinking on your feet" might help the team make a day if they change some scenes around or find another creative way of shooting.
All that said, as a client, you should be able to take a back seat and let your chosen video production partner do what they do best and lead the way. If this is your first time making a video, you might find the process a bit strange. Very rarely do film crews capture long sequences that will end up exactly like they are shot in the final video. Usually, producers/directors are constantly looking for nuggets of brilliance, sometimes only a few seconds long, which they add up in their heads in a virtual "edit." The decision to move on to the next scene might sometimes be delayed or sped up, depending on if the producer/director thinks they have the footage they need for the edit.
What should you expect from your video production partner during the shoot?
Promptness! Being on time and keeping the schedule as much as possible is paramount.
Being respectful of your business location and personnel. After all, film crews are guests, and usually, at least in documentary-style projects, the shooting needs to happen while real company work continues all around them.
Flexibility. Most filmmakers are well-versed in making detailed plans and then adjusting to last-minute changes or challenges.
What are some things your video production partners should expect from you during the shoot?
Again, promptness! Keeping the schedule goes both ways, and if people or locations aren't ready, it means less time getting quality footage.
Patience. The filming process always takes longer than what non-filmmakers expect, and sometimes it can feel like "watching paint dry."
Again, flexibility. Of course, there may be some things that need to be set in stone, like some interview subjects' schedules, but a degree of flexibility is appreciated.
Since this post is geared at helping clients navigate the video production process, we won't go into the technical nitty-gritty of filmmaking, which your video production partner should masterfully handle. Still, we will explain the basics of interview and b-roll workflows to give you a better feel for what you should expect on the shoot days.
Interviews
A typical interview workflow involves:
Set up. This is when the film crew sets up the gear needed for the interview. The timing will depend on the complexity of the interview. For example, if it has one or multiple cameras, how much lighting work is involved, if a remote feed is needed, if it involves a green screen or a backdrop, and how much crew is available to help. Usually, the setup time ranges from 30-45min for simple interviews to an hour or more for complex interviews.
Pre-interview prep. This step starts as soon as the interview subject is available "on set." The subject will need to have their wireless/lavalier microphone placed, and the lighting will have to be adjusted once they are in position. Finally, there will be an audio check to ensure all the levels sound good. This stage usually lasts 5-10 minutes.
Interview shoot. Once everything is ready, the cameras roll, and the interview starts. Depending on the project, interviews can last anywhere from 20 minutes to an hour or more. It's always a good idea to have some water handy for the subject and to check for any "shine" from normal perspiration. If the interview lasts more than 30 minutes, scheduling breaks is a good idea, as interviews can be exhausting.
Breakdown. Once the interview is completed, the crew needs to prepare for any additional interviews or break down the equipment and move on to the next part of the shoot. Even simple interview setups require quite a bit of gear, so a breakdown can take anywhere from 20 minutes to an hour.
Some interview-specific things to keep in mind include:
Noise. Sometimes unexpected noise sources pop up, like sudden construction work, a loud AC system, or even office parties. Noise is the enemy of clean interview audio, and as much as possible, the noise source should be mitigated, or a new interview location should be identified.
The chair. While some short interviews can be done standing up, most of the time, interviews are done sitting down. You'd think "the chair" might be a silly detail, but some chairs can be a real hassle. You want a chair without wheels. People move, and the last thing you want is to see your subject moving around the frame.
Microphone placement. Usually, interview audio is either captured through a "boom" microphone placed over the subject or with a wireless/lavalier microphone placed on the subject's body. Many times both options are used. If a wireless/lavalier is used, it can either be hidden, which requires a little extra time, or placed in plain sight. It's good to let your video production partner know if you have a preference.
B-roll
"B-roll" is the collection of supporting images used to either represent or complement what is being said in the interviews (the "a-roll"). These shots emphasize visuals over sound, although sound may also be recorded and used in the background. Some types of b-roll include:
General shots of buildings and spaces for establishing the location and providing general ambiance.
Shots of specific activities. These shots can be purely documentary-style, where the actual activity is captured as it happens, or staged, where the activity is recreated for the camera.
Transition shots, usually of people in movement around the workspaces or other artistic shots.
B-roll may or may not include lighting, depending on the needs of the particular location, but it usually includes the use of various filmmaking tools like handheld rigs, tripods, gimbals, sliders, drones, etc.
A typical b-roll workflow might include:
Set up. Compared to interview setups, where the cameras are usually static, b-roll setups usually include preparing the equipment for moving around in the location. Setup time is usually much quicker compared to interviews.
B-roll shoot. The goal is to get as much "coverage" as possible to have a variety of shots for the edit. A simple coverage strategy might include capturing wide, medium, and tight shots from complementary angles.
Breakdown. Once a scene is covered, you move on to the next scene. Usually, you try not to do a full breakdown of the equipment until the day is completed.
Of course, many more filmmaking techniques can be used in brand videos besides interviews and b-roll. For example, some projects may use a more active "a-roll" style where the subject is shot talking as they perform a particular activity. You may even go "full documentary" and capture natural moments, including dialogue, of actual activities as they happen.
Regardless of the techniques used, the production stage is always a balance between what you and your video production partner would like to capture and what is realistic, given time, budget, people, and location constraints. In this way, shoots are always a compromise, but it is precisely in this environment that great video production partners thrive. This stage is completed when the final shooting day is "wrapped."
5. Post-Production
After the shoot is wrapped, it's time for the editing or post-production stage. In this stage, the editor takes over and, with input from the producer/director and other video production partner creatives, builds the video from all the shot footage. Again, we won't go into the nitty-gritty of editing or post-production techniques, but we'll give an overview of the distinct stages of the post-production process.
Footage intake and organization
Before the actual editing can begin, the footage must be copied to the video production partner's hard drives and organized inside the video editing software. Usually, the footage is organized into "bins" or using "tags" to facilitate identification during the editing process. Any additional footage should also be included like previously shot client material or stock footage.
If animations are needed, this is the time to either start the process with the animation team or to include "mock-ups," if available. Additionally, if the project will use voice-over, it's a good idea to create temporary voice-over tracks as a reference until the final voice-over is recorded, usually near the end of the editing process.
Editing
Once all the footage is organized, it's time for the actual editing. Every editor may have a slightly different workflow, but the first step is usually to identify the best material. Sometimes "stringouts" are created, which are collections of all the usable footage, both for interviews and b-roll, which help the producer/director and other creatives get a sense of the footage.
The next step is to start laying down the "a-roll," or all the scenes that will drive the story forward, in story order, in a video project file. This usually includes all voice elements like interviews, temp voice-overs, or scenes with dialogue. Timing is always critical in video projects, so editors usually include all needed breaks and pauses and sometimes already include temp music to get a feel for the tempo.
At this point, the video is still very much in rough form, with many visual "holes," which is deliberate since the first goal is always to make sure the story and structure are solid. Although editors and other video production partner creatives should always keep the original project document in mind, sometimes changes are needed. After all, a project's final "rewriting" stage is always in the editing room.
Once the a-roll is ready, the next step is to start fine-tuning the video by including the b-roll and other supporting images. This is also the time to include titles, effects, graphics, mock-up animations, music, and a basic audio mix and color correction pass.
This step ends with the first draft edit of the video, which should have all the elements needed for the first round of client feedback. On simple projects, this edit could very well resemble a near-finished video. While on more complex projects, the first draft edit is just the first step that requires client approval before animations, visual effects, voice-over recordings, or original music is included.
Music considerations
The decision on what type of music to use is tied to the project budget, time/schedule considerations, and licensing needs, for example, if the video will be part of a paid ad campaign. Licensing well-known songs is usually beyond the scope of all but the most high-end budgets.
There are usually three options for music:
Stock music that is available as part of a music library subscription. This is the cheapest and fastest option, and many excellent music libraries provide great options with unlimited licensing options. Current stock music alternatives are simply miles ahead of what used to be available.
Licensing tracks from premium music libraries. This option usually gives higher-quality options than standard stock choices, but it also comes at a higher price, and it can quickly get even more expensive if ad-campaign licenses are needed.
Original music by a composer. This option offers the most flexibility and quality since the music is custom-made for the project but comes at the highest cost. Additionally, time needs to be built into the schedule for the composition, as well as for feedback and delivery.
Client Feedback
Once the first draft edit is ready, it will be shared with you and opened up for feedback. This is either done by sharing a private link to the video, usually with a "burned-in" timecode so that notes can relate to specific moments in the video, or using a dedicated online video feedback platform. Regardless of how the video is shared, a meeting is usually scheduled to review and clarify the feedback.
Even when a first draft edit is in excellent shape, experienced video production partners know to expect plenty of feedback. After all, while your video production partner might see the project primarily from a storytelling and aesthetic point of view, you know your organization best and will have many more practical considerations.
While you should be honest and precise in your feedback, your video production partner should be ready to listen, offer creative solutions, and communicate if any proposed changes might affect the budget.
After the first round of feedback, your video production partner will return to the editing room and implement the agreed-upon changes, creating a second draft edit. This process repeats until both parties agree to "picture lock" the project, which means that the video, minus any missing elements (like final animations, visual effects, voice-over recordings, or original music), is approved and the general timing is "locked."
For simple projects, this means that the project is very nearly finished since all that remains is the polishing stage. For more complex projects, this is the time to start work on all the missing elements that previously needed a picture lock. For these types of projects, an additional feedback session is required once these final elements are included.
Polish and delivery
Once all major elements are approved, your video production partner will work on polishing the video. This includes quite a bit of technical work, but we will outline the general steps:
Audio mixing. The interviews, voice-overs, and other dialogues need to be mixed at appropriate levels in relation to the music and any sound effects or ambient tracks. Your video production partner will do this in-house or outsource it to a dedicated audio mixing specialist.
Color correction. Every shot in the video needs to be visually tweaked so that it matches other corresponding shots and so the video, in general, has a particular "look." Again, your video production partner will do this in-house or outsource it to a dedicated colorist.
Additional deliverables. If the project requires other deliverables, like social media cuts, thumbnails, or subtitle files, this is the stage where they would be produced.
Once the polish is ready, the final edited video and other deliverables are presented for a final feedback session. Feedback at this stage is usually reserved for final touches like titles, audio mixing, or color correction notes.
It's good to remember that by this point, you have probably seen the video many times and your video production partner even more. Sometimes one can see the same video so many times that one "loses perspective" and starts identifying issues that might not be issues at all. Especially in contrast with the target audience, who will probably only see the video once. If in doubt, it's always a good idea to show the video to a trusted partner who has never seen it before and has much-needed perspective.
Once the final edited video and other deliverables are approved, it's time to deliver the project. Delivery requirements vary by project, but usually, they comprise the following:
The final edited video in a master format, like ProRes 422.
Compressed versions of the final edited video in formats like H.264 (MPEG-4) or H.265 (HEVC) so they can be uploaded to video-sharing and social media platforms.
Subtitle files in SRT format for uploading to video-sharing sites along with the video.
Video thumbnails in JPEG or PNG format.
And now you have your video!
But are you done? Nope. There is still one more crucial step: distribution.
6. Distribution
Distribution is the process of releasing your video into the world. It encompasses all the steps that will ensure that your target audience actually gets to see the fantastic video you've just produced. If you don't put the necessary effort into distribution, you might have just spent a considerable amount of time and money on a project that few will ever watch.
Of course, how you distribute your video depends on many factors, including your ongoing marketing and social media efforts. But even on simple projects where the video will mainly "live" on your homepage or social media feed, just placing it there without any additional support will guarantee it will only get limited viewing. Ideally, you would have already discussed distribution with your in-house marketing team or your video production partner. But if you haven't, this is the time to develop a distribution plan.
It's important to note that if you've worked with a purely "shoot and edit" freelancer, they might not be very helpful in developing and executing a distribution plan. And often, even experienced video production companies only take the project as far as delivery. This is where working with a "full service" or “hybrid” video production company or a marketing agency makes a difference. Either way, you need to make a plan and execute it.
The first step should always be an initial research and strategy phase. At a minimum, you should know the best channels to reach your audience and what keywords your audience uses. Here is where competition research can be beneficial, as you can see which efforts have worked and which haven't for other organizations in your field.
What are the main components of a video distribution plan?
Channels. What channels will be used to share the video? Usually, this is based on your existing online presence, for example, your website, email marketing list, and your social media pages on Facebook, Instagram, Twitter, LinkedIn, or YouTube. It's a good idea to decide which channels you want to concentrate on, especially regarding paid promotions like ad campaigns.
Video Hosting. You should always use each social media platform's "native" video hosting options since they provide the best visibility on their platform. But you'll most likely also want to embed the video in your website and blog, and you need to decide what type of video hosting service you'll use. Free options like YouTube are great, but they also serve ads and "recommended" videos, which could end up being your competitor's videos. Usually, you'll want to go with a free or paid video hosting service that doesn't serve ads and offers more embedding options, like Vimeo.
Call to Action. What do you want your audience to do once they view the video? This may have been included in the video itself, either as a general theme or as a direct call to action, but now you need to decide how, specifically, your audience will take that actionable step. For example, you could include a link to an existing web page or create a unique landing page for the project.
Texts. You'll need texts to accompany the video on every chosen channel. You might want to create a blog post that tells the main story of the video, or provide a detailed summary, and post it on your blog along with the embedded video or share it with your email marketing list. You'll need shorter texts, like synopses of different lengths or dedicated calls to action, to include in social media posts.
Optimization. You'll need to optimize your video and texts for every social media platform. You should pay special attention to video dimension requirements and video and text length limits, as well as use hashtags if supported. Most social media platforms also offer custom thumbnail options, which you should definitely use, or else the platform will randomly choose the key image it shows before the video plays.
Sharing strategy. You'll need to think about how your organization, your team, and any external partners can help promotion efforts by sharing your video and social media posts. The more people share and "like" your video, the more organic traction it will get.
Paid promotion strategy. Hopefully, you've set aside a part of your budget for paid promotion or included it as part of the contract with your distribution partner if they will handle this. Some examples of paid promotions include:
Boosting Facebook, Instagram, Twitter, and LinkedIn posts, so they reach your full current audience (since unboosted posts might only reach a small percentage of your audience). This is relatively easy, even if you take care of it yourself.
Launching video-ad campaigns on YouTube, Facebook, Instagram, Twitter, or LinkedIn, to reach a specific targeted audience. This takes a bit more know-how and usually requires creating unique advertising accounts on each social media platform. It also requires that you understand how the targeting mechanisms work. It's possible to do on your own, but tricky.
Distribution schedule. You should create a distribution schedule that includes the video release date for specific channels, sharing efforts, and the initial length of paid promotions like boosting or video ad campaigns. If you are making a series of videos, you should include the release date for each video.
Distribution analysis. You should have a clear view of how your efforts are paying off. You can do this by using the built-in analytics tools in each social media platform or by using a dedicated social media analytics tool that aggregates information from all the platforms, like Hootsuite or Sprout Social, in addition to your website and email marketing list analytics. Knowing your social "metrics," along with how they are impacting your website traffic and video views, can help you tweak your distribution plan and maximize your efforts.
The great thing about having a distribution plan and analyzing the results is that it gives you valuable information that lets you assess the value of your investment in video production. Of course, some projects may not require such detailed reporting, but still, you'll learn a lot about your audience and how to reach them, and you'll be better prepared for the next time you embark on a video project.
You've made a great video. Now allow your audience to see it :)
That's it! We hope this guide has been helpful and wish you the best of luck on your video production journey. If your organization ever needs a boutique video production company specializing in documentary-style brand content, please check out our work, view our services and process, and drop us a line.
Artwork credit: AI Art Generator by NightCafe.
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