CORPORATE AND FACILITY FILMS
Access, a run sheet, and a plant that keeps running.
A facility film is an access problem before it is a creative one. Lines run to a schedule, restricted areas need an escort, some processes cannot be in frame at all, and nobody is pausing a shift so a camera can get a better angle. So the first document is not a treatment. It is a walkthrough and an hour-by-hour run sheet built around what is genuinely running when.
I direct these. I recce the site with whoever actually runs the floor, list the processes worth filming in the order the finished film will use them, and mark which frames legal or operations will not allow out of the building. Then I brief the crew on the real constraints: mixed sodium and LED sources, machine noise over any dialogue, no stands blocking a walkway, PPE visible in shot.
One site visit rarely produces one film. The coverage is planned so the same day feeds a two to three minute master, a process sequence a salesperson can play on a laptop, department sections, a recruitment cut and silent loops for a reception screen. The alternative is booking the floor twice, which is the expensive way to discover a shot was missing.
WHAT I DO
- Site recce and access plan — walkthrough with floor management, escort arrangements, PPE and a written permission list agreed before the shoot
- Hour-by-hour run sheet — which area, which machine, which shift, in an order the production can physically reach
- Process shot list — every process broken into the shots that make it read on screen, down to the close detail that explains it
- Crew brief for industrial conditions — lighting that works with existing sources, sound where machines never stop, rigging that leaves walkways clear
- Confidentiality pass — frames reviewed against what operations and legal will not let leave the site, done before the edit, not after
- Script for voiceover or on-screen text, plus a subtitled version for screens that play silent
- Delivery set — a 2–3 minute master, a process sequence, department sections, a recruitment cut and reception-screen loops
HOW I WORK
- 01
RECCE
I walk the site with floor management, log access, light, noise and the processes worth filming.
- 02
SCHEDULE
An hour-by-hour run sheet and process shot list tied to real shift timings and escort availability.
- 03
DIRECT
On site I work the run sheet with the crew I briefed, adjusting as lines stop and start, and sign off coverage area by area.
- 04
VERSION
Confidentiality pass, then the master and every cut-down version driven through edit, grade and sound review.
BEST FOR
- Manufacturers and industrial companies where the plant itself is the credibility
- Companies that need a film to arrive before a sales visit, buyer audit or tender
- Businesses wanting recruitment, investor and sales cuts out of one site visit
- Multi-site groups that need a consistent look across several plants
NOT THIS
- Not a safety induction or SOP training video — those need compliance sign-off and a technical writer, and they are a regulated deliverable, not a brand film
- Not a founder-interview film — if the story is a person rather than a process, the brand films and founder stories page is the right scope
- Not an aerials-led property flythrough — drone work is booked and permitted separately where a site allows it at all, and it is never what carries the film
THE PROOF
Published case studies from cinematic production work. Each one names the client and shows what was delivered.
STRAIGHT ANSWERS
REST OF CINEMATIC PRODUCTION
MAKE A
WISH.
Tell me what you're building. I'll tell you how loud it can get.
- /01
YOU WRITE
Tell me what you're building and what's in the way. Two lines is enough.
- /02
WE TALK
A 30-minute call, booked within 7 days. Real questions, no pitch theatre.
- /03
YOU GET A PLAN
Scope, timeline and an honest number, usually within a week.