Video Production London

Without sounding snobbish, we're one of the most creative video production companies in London. We started as filmmakers, we work across every sector, and we bring real on-set craft to everything from a three-person shoot to a 30-person set.

We're a video production company in London

We make video for brands large and small, from commercials and brand films to social content. Every project starts with a proper creative development period, in close collaboration with you, so by the time we are on set there are no surprises.

How we do it

Our video production process is always bespoke, tailored to the brief and budget available and optimised for the best results. Our super adaptable team in London can take on the full production or integrate with clients’ existing in-house production capabilities.

Creative Ideation and Development

This is when the whole team joins forces to understand the message the client wants to convey. Is it a project that seeks to deliver an idea, provoke a discussion, or simply entertain the audience? What are we trying to sell, and to whom? Once these questions are answered, it's time to laugh and have fun developing the script and storyboard, detailing everything that will be seen and heard in the video.

Pre-Production

Pre-production starts once the idea, objectives, and storyboard are in place. It’s the essential phase before filming, ensuring a smooth video production. This includes casting the right talent, scouting ideal locations, planning, scheduling, and budgeting. In this stage, we will also select the necessary equipment, assemble the crew, and hold rehearsals. Regular meetings with directors, producers, and cinematographers align everyone’s vision, setting the stage for a successful shoot.

Production

Production is when the magic happens. Directors guide actors, camera operators capture the best angles, and sound technicians record audio, all working in harmony to materialise the project. Managing lighting technicians, sound engineers, makeup artists, and others is what we do best. Moreover, the agility and problem-solving skills of the crew are put to the test. The team must also be mindful of time management.

Post-Production

In post-production, the captured footage is transformed into a polished final product. The process begins with editing, where editors shape the raw footage into a cohesive narrative. Next is colour correction, ensuring consistency in colour and lighting, followed by grading, which gives the video its distinct look and feel. Sound design and mixing are crucial, and visual effects (VFX) may also be added to enhance the final result.

Distribution and Marketing

Distribution begins with choosing the right platforms and influencers for the video. This decision is largely determined by the target audience and the nature of the content. Teasers, trailers, and behind-the-scenes glimpses are shared to generate buzz and anticipation. To maximise reach and sustain interest, content is released in a carefully orchestrated sequence, keeping the campaign engaging and ever-present.

Analytics

Understanding the impact and ROI of your video content is crucial. Our analytics services dive deep into the data, providing insights into audience engagement, viewership trends, and overall performance. We track key metrics like watch time, viewer demographics, and conversion rates, helping you measure success and refine future strategies. Beyond the numbers, we also closely review audience comments to understand their opinions. This gives us a clear picture of how to maximise the effectiveness of your video production campaigns.

Check out behind the scenes!

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Talk to us, we’re nice

Ready to get started on your video production project? We may be based in London, but we work with brands all over the world. We’d love to hear about your brand and business challenges, even if you’re not sure what your next step is.

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Our work

Social Campaigns

Revolut

Grace Beverley

Watch Film Case Study

Social Campaigns

Asda

Pop the Bublé

Watch Film Case Study

Social Campaigns

Lipton

SLURP Squad

Watch Film Case Study

B2B

Dell

UltraSharp Monitors

Watch Film Case Study

TVC

EPSON

EcoTank

Watch Film Case Study

B2B

Google

Agency Conversations

Watch Film Case Study

TVC

NHS

Organ Donation

Watch Film Case Study

Social Campaigns

Sainsbury’s

Table Manners with Alison Hammond

Watch Film Case Study

View all case studies

Video production: the shoot day done right

A good video production company cares about two things in equal measure: the work on screen, and the experience the client has getting there. 50% is whether the film hits the brief. 50% is whether they had a great time making it.

We started as filmmakers, a director-cinematographer duo with over a decade behind the camera, and the company's history is more shoot days than anything else. One thing most agencies would never admit: we work on everything from £5,000 shoots to £100,000+ productions, we stay a little scrappy, and to this day we've never messed up a project.

What makes a good shoot day

Three things we get right on every shoot:

🎬 Right-sized crew for the brief - Crew size follows the brief, not the other way round. We run shoots from three to thirty people depending on the spec; the work gets better because the right specialists are doing the right job, not because there are more bodies on set. Not sure whether you need a videographer or a camera operator? Here's how to choose.

🎥 Equipment that lives in our van - Our whole kit (cameras, lenses, lights, sound, monitors, rigs and grip) lives PAT-tested and ready in a van, so even a low-budget shoot can have the extra monitor or second camera if the day needs it.

📅 A process that mitigates what can go wrong - A 5am check-in call so cameras arrive on time, fixtures secured, locations confirmed in writing days ahead, risk assessments and insurance sorted. We confirm it every time, even on the smallest shoots.

You can't be a great camera operator without being a good editor: the best operators are thinking like an editor while they shoot, especially on interview or narrative work that lives or dies in the cut. The rest is human: charismatic with clients, confident with talent, aware of the sensitivities on set. Sometimes we're shooting in someone's home, and that's a vulnerable place to let a crew into. The technical side you can teach. The rest is who we choose to put on your shoot.

Gulliver Moore, Co-Founder & Managing Director, Sunday Treat

A bit about our video production company

We started Sunday Treat in February 2021, mid-Covid, with no outside funding and a background in indie film. Gully and Oli spent years making short films, comedy and music videos before the agency existed, and that filmmaker's instinct still runs through every shoot. In 2024 we were named the Drum's Agency of the Year, which we didn't expect so early and still happily shout about.

We've stayed deliberately sector-agnostic. Most video companies niche down and do one kind of video one way; we went the other way and work across every sector, from the smallest charity to names like Google, Revolut and Lipton. We're professional without taking ourselves too seriously: a team of high-performing people who genuinely love the work.

Behind the scenes of a space-themed video production with Sunday Treat.

We find the fun in video production

'Find the fun' isn't a tagline we added later. Gully and Oli met making indie comedy, and when they started the agency they wanted to keep that spirit without becoming a comedy shop. We thought the industry was missing it.

So we find the fun in everything, including the serious stuff. On a playful brief with great talent it's easy; on a straight B2B campaign it might be a small human moment, a candid behind-the-scenes cut, or a bit of animation that makes people actually watch to the end. (Ask us in person why we're called Sunday Treat and we'll tell you.)

Clapperboard of an 'Agency Conversations' video shoot for Google.

Where video production meets performance marketing

Most of what makes a campaign work is the creative, not the spend behind it. A lot of performance agencies treat the creative as an afterthought and disappear into the dashboard; we start the other way round, and we won't put budget behind an asset until it's earned its place organically first.

We also build for the platform, not just the brief. What works on TikTok rarely works as-is on YouTube or in an email, so we cut bespoke versions for each. It's how our Lipton 'Slurp Squad' campaign passed 149 million impressions, and how our own TikTok reached 50 million views in three months.

Behind the scenes shot of a video shoot in London on a cloudy day.

From London to LA, we shoot videos across the globe

About 40% of our work now happens in the US, so in early 2026 we opened a proper, fully insured US office, led by our New York-based creative director Pierre Jampy. For two years running we've made Google's Marketing Live films, interviewing teams at Shake Shack, Les Mills, Adidas and Rare Beauty, on shoots from New York and LA to Portland, Seattle, Switzerland and New Zealand.

We keep most pre and post-production with the London team and pair one or two of our own people with trusted local crew on the ground. It keeps budgets sensible and the work consistent, wherever the shoot lands.

FAQs

We work with all kinds of budgets, from £5,000 right up to £200,000, and our sweet spot is £10,000 to £40,000. We make that money go a lot further than most agencies: it's rarely just the one video, it's a proper batch of content. We approach every campaign with an indie perspective, only spending what the success you want actually needs. And we're completely transparent on cost: itemised breakdowns whenever you want them, every client charged the same way, and heavy discounts for charities. Budget is always a conversation, so get in touch and we'll make it work 🚀

For a simple campaign or shoot we can turn things around in literally a day or two, and we still follow all our processes on short timelines; working extremely fast is one of our big skill sets. For bigger productions, where we're developing the creative, scouting locations and casting talent, it's good to have at least three weeks of pre-production and two weeks of post. Tell us your deadline and we'll tell you honestly what's achievable.

Sometimes it can be, but it's incredible how quickly time moves on a film set, even a small one. If a shoot isn't planned properly you burn through the day and everyone's time with it. There's also more beneath the surface than people expect: talent contracts and usage rights, licensing child performers with councils, risk assessments, insurance. That's the benefit of working with a proper agency over a freelancer. We've seen enough go wrong over the years that there's a process for all of it, and the same mistake never happens twice.

The questions we think every brand should ask, including of us. What exactly is in scope, and how flexible is it when the brief moves (it usually does)? Where does responsibility start and end between client and agency: who approves what, when, and what does the agency need from you to keep the timeline? Who will actually work on the project? There's nothing worse than a glitzy pitch from founders who then disappear; ours stay involved and come along to most shoots. And our favourite question, which brands almost never ask: what would you do with our budget if the deliverables weren't fixed? It gives us licence to look at the brief with a fresh perspective, work out how many deliverables the budget can really support, and agree what success looks like before anything gets made. Above all, open and frequent communication is the single most important thing on any production.

We once made a film to be shown exactly once, to one person: the Saudi Crown Prince. The commissioners flew out on a private jet, he watched it, and apparently he loved it. We don't do much work in the Middle East, but a one-viewer premiere is still the strangest distribution plan we've ever delivered against.

Recent Awards

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