Everyone on camera signs a release before filming, covering where the film can be used and for how long. If someone leaves later that release still stands — but I'll always recut a film to remove a contributor if you ask, and it's worth building the main film so no single person is load-bearing.

I work to your rules. Client names, monitors, whiteboards, patient areas, secure zones and anything under NDA are identified in pre-production and either avoided, cleared or blurred in the edit. Happy to sign your NDA before anything is discussed in detail.

Interviews take about twenty minutes each and go into a schedule you approve. Everything else is filmed around what's already happening. On a normal office day most of the floor barely notices; on a site or a ward we work to your access rules and shift pattern rather than the other way round.

Completely fine, and more common than people expect. Tell me in advance who's out and they're simply not filmed — no cutaways, no background, no negotiating with them on the day. Arranged so nobody has to explain themselves in front of colleagues.

Public liability insurance in place, and I'll complete your site induction, wear your PPE and work to your permit system. If your health and safety lead needs a risk assessment or method statement before the day, ask and it's provided.

You do, for the uses agreed in your quote — careers page, job boards, paid advertising, socials, internal use. Nothing appears on my site, showreel or social channels unless you've said in writing that it can.

If you already have a marketing agency, an internal comms lead or brand guidelines, I work inside them rather than around them. Assets are delivered in whatever format your team needs to take it from there.

A corporate video sells to customers, so it can be polished and scripted. A recruitment video sells to candidates, who are specifically looking for the catch — so anything that sounds written gets disbelieved. Same cameras, opposite instincts.

Specifics. Not "we're a supportive team" but "my manager let me change my shifts when my kid started school". The second one is unfakeable, and it's the one candidates remember.

With the role you've advertised most times this year. One vacancy, one film, see what it does to your applications. Employers who start with a full brand campaign usually should have started smaller.

Yes, and for a lot of employers that's the point. If two-thirds of your workforce is on nights, a film shot at 10am is showing candidates a building they'll never see.

Yes. White-labelled if you'd rather, and I'll deal with the end client directly or entirely through you, whichever suits.

There's no fixed price, because the work varies enormously — a single role film with one contributor is a different job from a main film built across three sites with a dozen interviews. Pricing is against the actual build: filming days, sites, contributors, how many separate films come out of it, and whether photography runs alongside. Tell me what you're hiring for and where the content's going, and you get a quote against that.

Two to four weeks is comfortable for a single-site shoot, which leaves time to pick contributors, sort consent and build a schedule around shifts. Multi-site campaigns and anything tied to an intake date or a job board booking are better with more. If you're already up against a deadline, ask anyway — it's often possible.

Most single-site projects are one day. Six to eight interviews, the cutaway footage, a site walk-through and the photography all fit comfortably into a working day if the schedule is built properly beforehand. More sites, more roles or shift patterns that span mornings and nights push it to two.

Both, and often in the same room. Recruitment video is usually paid for by HR or talent acquisition but has to satisfy marketing's brand guidelines, so it's easiest when someone from each is involved at the scoping stage. If you only have one of the two, that's fine — it just means fewer opinions to reconcile later.

Less than people expect. Interviews are twenty minutes each and booked into a schedule you approve in advance. Everything else is filmed around normal activity rather than staged. On a typical office day most of the floor carries on as usual.

Real employees, always. Actors are the fastest way to make a recruitment film nobody believes, and candidates spot it in the first few seconds. The whole value of this content is that the people in it actually do the job.

Almost everyone is, for the first few minutes. Questions go out in advance so people can think about their answers rather than memorise them, the interview is a conversation rather than a performance, and the opening minutes are usually discarded. Nobody is asked to read a line.

No. Contributors get the questions beforehand and answer in their own words. Scripted staff testimonials are the most obvious tell in a bad recruitment video. The structure comes from the edit, not from words written for someone to perform.

Yes, subject to your rules. I'll complete your induction, wear the required PPE, work to your permit system and take direction from your site or ward manager. Tell me what the environment is at the enquiry stage and it's planned for properly.

It depends where it sits. A careers page main film works at 90 seconds to three minutes. A day-in-the-life piece for a specific role works at 60 to 90 seconds. A paid campaign cut for LinkedIn or Indeed wants 30 to 60 seconds and has to make sense in the first three. Most employers end up needing all three lengths from the same footage, which is why they're planned together.

Yes. Burned-in captions on the social and campaign cuts, and a clean SRT subtitle file for the website version. Most of your audience watches the opening seconds on mute in an office, so the films are cut to work that way.

Yes. Files are delivered in the specifications those platforms want, alongside the versions for your website, YouTube and paid social.

Usually not as standard, because raw interview footage includes false starts and material contributors wouldn't expect to be kept. If you have a genuine reason to hold it — an internal archive, or an in-house editor who'll recut later — say so at the quoting stage and it's built in.

Often, yes. If a role changes or a new vacancy opens, existing footage can usually be recut into a new version. A short top-up shoot once a year keeps the library current for far less than starting again.

Yes. Multi-site employers are usually filmed across consecutive days and cut into a group film plus a version for each location, so every site gets something of its own without paying for separate productions.