Creative video agency in Washington DC.
We’re the video team Washington DC brands call when the brief is bigger than a deliverable, when a film has to move policy, raise capital, or change how a category gets seen. London-rooted, US-built, working across the DMV from Capitol Hill to Tysons Corner.
Video production for Washington DC brands
Video production in Washington DC sits in its own category. The work is rarely about volume - it's about the weight of the message. A senate-facing comms film for an industry coalition has different stakes from a DTC ad. A capabilities reel for a federal contractor has different stakes from a fashion campaign. The brief is usually being read by someone who has to defend its tone in a Congressional hallway, a board meeting, or a donor dinner.
We've spent five years making video for clients whose work changes how things get decided. The DC equivalents aren't different in kind. They're trade associations, advocacy groups, federal contractors, mission-driven brands, and the consultancies that orbit them. We bring the same approach: a creative team that treats the message as the brief, a US production capability we can deploy across the DMV, and a London studio that's won The Drum's Agency of the Year.
Around 40% of our work now happens across the Atlantic, led from our US office by New York-based Creative Director Pierre Jampy, who knows the East Coast production scene inside out. The American names in our reel include Google, Snap, J&J and Anthropic, the kind of technical, policy-adjacent and mission-driven brands whose DC counterparts we are built for.
Why brands in Washington DC work with us
The DC market isn't one market. It's four overlapping ones, and each commissions video differently.
Trade associations and advocacy groups. The big ones - AARP, the Chamber, the NAB, the AMA - don't buy commercials. They commission films that have to land in a Senate office, on a member's annual-meeting screen, and in a member's email inbox in the same week. The brief is usually written by a comms director who needs the film to do three different jobs without feeling like three different films. We're built for that kind of brief: one creative team carrying a single thread of narrative across multiple cuts, formats and audiences.
Federal contractors and govtech. A capabilities reel sits inside an RFP response - its job is to win a contract, not to win an award. We've made the equivalent for technology contractors in London for years. The visual grammar of the federal-RFP film is specific: clear, sober, evidenced, no over-stylisation, no music that telegraphs Silicon Valley. We bring that grammar pre-loaded.
Non-profits and mission-driven brands. DC has one of the highest concentrations of non-profits in the US. The films these brands need - donor-facing campaign films, programme-evidence shorts, founder-led explainers - have to convert without ever feeling sales-led. We make a lot of these.
Challenger brands and DC-rooted DTC. DC also has a quiet base of category-challenger consumer brands - sustainable-fashion houses, food-tech startups, small-batch CPG. We bring the same Lipton, Revolut and HelloFresh work that's earned us our UK case studies, sized for a US-market launch.
What ties these four together is the brief itself. In DC a film usually has to do a serious job, land in a Senate office, win an RFP, or move a donor, without the gloss that reads as wasteful. We run pre- and post-production from our London hub and bring US-based crew to the shoot day, so the budget goes on the craft rather than the overhead, and the work lands at a price an association or non-profit can defend.
Find the fun isn’t a slogan for us - it’s how we run a set, and American clients feel it from the first call. Around 40% of our work is now made in the States, shot everywhere from New York to Nashville to San Diego, with our own US entity handling the crew, the insurance and the paperwork. We’ve spent years building networks of American filmmakers who are talented, energetic and down-to-earth. We regularly pitch against the big US agencies and come in leaner - with higher creative ambition.
On location across the US
We have production networks all across the US, with recent shoots in New York, LA, San Francisco, Nashville, Las Vegas, Philadelphia, Washington DC, San Diego, Portland, Seattle and Salt Lake City. Every project runs on our split-crew model: a creative lead from our core team holds the brief and the find-the-fun ethos, working alongside US-based crew we’ve spent years getting to know - people who aren’t just talented, but energetic and down-to-earth on set.
Pre-production and post run through our hub team, which keeps budgets lean and quality consistent - whether the shoot day is in Washington DC or anywhere else in the country.
How we make video for DC brands
The process is the same one we run from London - the only difference is which side of the Atlantic the crew steps off the truck on the shoot day.
- Creative brief. One conversation, two outputs: the brief we work from and a one-page agreement of what success looks like.
- Research. Customer interviews, competitor reels, category audit. Forty-eight hours, not four weeks.
- Strategy. The single most important thing we get right - what this film is actually trying to do, and what it shouldn't try to do.
- Creative development. Treatments, scripts, storyboards. We bring two routes, you pick one.
- Production. The shoot day in the DMV, with US-based crew. Director, producer and editor on the call all the way through.
- Distribution + performance. Cuts for paid, owned and earned. The distribution plan is part of the brief, not an afterthought.
Washington DC video production in action
Hilton Hotels - case study coming soon
Case studies we're proud of
A cross-section of US-led work - made for American brands by a London creative team and a US-based crew.
Lipton Slurp Squad
A festival Slurp Squad campaign blending performers and creators that drew 149M+ impressions for Lipton.
Candy Crush Mascots
Two seasonal comedy spots for a global gaming giant - character-led, cinematic, scroll-stopping.
Google Marketing Live
Films for Google's flagship Marketing Live event, shot across New York, LA and San Francisco.
Anthropic - Claude AI
A human-first brand film for an AI company, using nostalgic film-camera-style photography.
Trusted by leading brands
Frequently asked questions
Do you have a Washington DC office?
We don't keep a leased office in DC, and we wouldn't recommend choosing a video partner on that basis alone. We're Delaware-registered with US-based crew, and we deploy across the DMV - DC, Northern Virginia and the Maryland suburbs - through partner studios and freelance teams we've worked with for years. Most of our DC clients prefer this model: one creative team holding the brief, multiple crews servicing the shoot, no overhead in their fee.
How much does video production in Washington DC cost in 2026?
Every project is scoped individually - deliverables, shoot days, talent and post-production all move the number, so we don’t publish a fixed rate card. What keeps our budgets lean is the split-crew model: senior creative direction from our core team, US-based crew on the day, and pre- and post-production run through our hub rather than billed at big-agency rates. We regularly pitch against large US agencies and come in leaner. Tell us your budget and we’ll tell you honestly what it can buy.
Can you film for federal contractors and government clients?
Yes. We've made comparable work for public-sector and policy-adjacent organisations, and our production processes adapt cleanly to government-adjacent requirements. We're remote-native and our crew teams are US-based - security, badging, location-permit and union-paperwork requirements are handled per shoot.
Do you make non-profit and advocacy films?
Frequently. The work in our reel is the same craft we apply to mission-driven briefs. A non-profit film has to convert a donor without selling, evidence a programme without lecturing, and outlast the campaign that commissioned it. That's a craft brief, not a pricing brief, and we charge non-profits the same way we charge corporates - by the work, not by the cause.
How fast can you turn a Washington DC shoot around?
Standard timelines: kickoff to first cut in 4-6 weeks for a single-day shoot, 8-12 weeks for a campaign film. We can compress for time-sensitive briefs (post-budget-announcement comms, news-tied advocacy films, RFP-response reels) A typical fast-turnaround shoot for us runs about 10 working days across two weeks.
Recent Awards
