STORY
Message, structure, characters, interview themes, proof points and the emotional centre of the film.
A successful production is rarely about having more gear. It is about clarity: knowing what the film needs to achieve, who needs to speak, where the story should happen and what the audience should feel when it ends.
01 / START WITH THE BRIEF
Know what the film has to do.
Before deciding on shots, locations or interviewees, define the job of the film. A clear brief gives every creative decision something to push against.
If the audience remembers only one thing, what should it be?
If that sentence is difficult to answer, the production is not ready to be scripted or scheduled yet.
- Who is the primary audience?
- What do they already know, and what do they misunderstand?
- What should they think, feel or do after watching?
- Where will the film live: website, presentation, social, campaign, event or broadcast?
- Who gives final approval?
- Are there fixed launch dates, access windows or seasonal constraints?
02 / PRE-PRODUCTION
Do the thinking before the expensive part.
Pre-production turns an idea into a practical plan. It is where the story, schedule, people, access, permissions and logistics get resolved. Good preparation means more time on filming day for genuine moments rather than preventable problems.
LOGISTICS
Locations, access, permits, travel, weather contingencies, call times, safety and equipment requirements.
PEOPLE
Interviewees, contributors, approvals, release forms, briefing and availability.
DELIVERABLES
Main film, cut-downs, vertical versions, captions, graphics, photography and any campaign assets.
03 / LOCATIONS
Choose a place that helps tell the story.
A visually impressive location is not automatically a good interview location. The best setting should be relevant to the subject, controllable enough to film well, and quiet enough to record clean sound.
Look for
- A background that adds context to what the person is saying.
- Enough physical space for camera, lighting and sound equipment.
- Soft natural light or the ability to control windows and artificial light.
- Carpet, furniture or soft surfaces that reduce echo indoors.
- Shade and stable light when filming outdoors.
Avoid when possible
- Roads, construction, machinery, loud air-conditioning and public-address systems.
- Small empty rooms with hard walls and strong echo.
- Direct midday sun or backgrounds that constantly change brightness.
- Busy shared spaces where filming cannot be controlled.
04 / PEOPLE
Choose the person, not the job title.
The most senior person is not always the strongest interviewee. Choose contributors who understand the subject, genuinely care about it and can explain it in their own language.
Authenticity beats polish.
We would rather film someone who is genuinely connected to the story than someone delivering a memorised corporate statement perfectly.
Give interviewees the themes in advance, but avoid giving them a script to memorise. Prepared ideas sound natural. Prepared sentences usually do not.
05 / INTERVIEWS
Questions that lead to stories, not sound bites.
Strong interviews move from easy factual territory into personal experience, stakes and reflection. These are prompts, not a script. Use the ones that fit the story.
Tell me what you do, in your own words.
What brought you into this work?
Why does this project matter now?
What problem are you trying to solve?
What would happen if nothing changed?
Who is affected by this work?
What is something people often misunderstand about the issue?
When did the scale of the problem become real for you?
Can you take me back to a specific moment?
What surprised you most?
What has been the hardest part?
What has changed since the project began?
How do you know the work is making a difference?
What does success look like in practical terms?
What does success feel like personally?
Who else has made this possible?
What have you learned from the community?
What have you learned from the landscape or environment?
What keeps you going when progress is slow?
Is there a moment you are particularly proud of?
What are you worried about?
What gives you hope?
What do you want people watching this to understand?
What would you like them to do next?
Is there something important I haven't asked you?
06 / FILMING DAY
Protect time for the moments you cannot schedule.
A good production plan is detailed enough to keep everyone moving and loose enough to recognise when something better than the plan appears.
ARRIVE + RECCE
Confirm light, sound, access and the real conditions on the day.
INTERVIEWS
Give people time to settle. Rushed interviews sound rushed.
OBSERVATIONAL
Film real work, interaction, process, landscape and detail.
SAFETY SHOTS
Fill visual gaps and capture the material needed for edits and cut-downs.
For interviewees
Wear something you feel comfortable in. Avoid very fine patterns, prominent logos unless relevant, and noisy jewellery. You do not need to memorise answers. Listen to the question, think for a moment, and answer as if you were speaking to one interested person.
07 / POST-PRODUCTION
This is where the story is found again.
Editing is more than assembling the best-looking shots. Interviews are distilled, ideas are reordered, visual sequences are built, and the rhythm of the film is shaped around what the audience needs to understand and feel.
EDIT
Story structure, interview selection, pacing and visual narrative.
COLOUR
Consistency, tone and a considered visual finish across cameras and locations.
SOUND
Dialogue cleanup, atmosphere, sound design, music and final mix.
GRAPHICS
Titles, names, captions, maps, data visualisation or animation where the story needs them.
Giving useful feedback
Keep feedback consolidated through one nominated client contact where possible. First-round feedback should focus on story, accuracy and missing information. Fine wording, graphics and polish are easier to resolve once the structure is approved.
08 / DELIVERY
Plan the versions before the edit is finished.
A hero film often needs to work far beyond one upload. Decide early where the content will appear so framing, graphics and coverage can support every version.
- 16:9 master film for website, YouTube and presentations.
- 9:16 vertical edits for Reels, Shorts and TikTok.
- 1:1 or 4:5 social versions where required.
- Open captions or clean caption files.
- Short cut-downs built around individual themes or characters.
- Thumbnail frames, stills and campaign photography where useful.
- Archive master and agreed file-delivery format.
09 / CLIENT CHECKLIST
The week-before-shoot checklist.
Run through this list before filming. It catches most of the issues that cost time on the day.
- Final objective and audience agreed.
- Interviewees confirmed and briefed.
- Names, titles and organisations checked for spelling.
- Locations confirmed, including access, parking and contact person.
- Noise and lighting conditions considered.
- Filming permissions and releases organised.
- Brand assets supplied: logos, fonts and style guides if needed.
- Facts, statistics and technical claims ready for verification.
- Required deliverables and aspect ratios agreed.
- One person nominated to consolidate client feedback.
- Weather or access contingency agreed where relevant.
- Everyone has the final call sheet and contact details.