Blog
Articles for companies and brands that want to better understand how to turn events, corporate pieces and video production into content that works for their business.
A training video works when it is short, teaches one thing and is recorded with the viewer's time in mind. Here is what I decide before shooting and what it really takes.
A company video podcast stands on good audio, two or three fixed cameras and a format that can be cut into clips. Here is what you need and what it really takes.
If your company exhibits at a trade fair at IFEMA Madrid from abroad, filming without surprises comes down to three things: the venue's rules, the setup schedule and a crew that already knows the place.
A phone shoots well, but not for everything. Here is how I choose between a phone and a professional camera based on where the video will run, who is on screen and what is at stake.
Filming a company event is not putting one camera at the back of the room. Here is how I plan it: what to film, which gear, which deliverables to ask for and how long it takes.
If you are organising a conference in Madrid, especially from abroad, hiring the right videographer saves a lot of trouble. Here is what to ask for, what to check and which timelines are realistic.
Professional filming is not just a better camera. Here is what a shoot for a company includes, how long it usually takes and when it beats recording on a phone.
Someone choosing a language school compares methods, schedules and prices, but ends up deciding on the teachers and the atmosphere. Here is how I plan a corporate video for a school.
Someone choosing an aesthetic clinic is trusting it with their skin or face. Here is how I plan a corporate video that shows the team, the space and the care without promising what it shouldn't.
A physiotherapy patient is choosing the person who will touch them and support them for weeks. Here is how I plan a corporate video that shows the team and the way they work.
People choosing a vet are mostly looking for kindness and reassurance. Here is how I plan a corporate video for a veterinary clinic that shows the team, the space and the way you work.
Nobody picks a dentist from a list of treatments. They pick the one who makes them feel at ease. Here's how I plan a corporate video for a dental clinic that shows the team, the space and the way you work.
A fashion brand already has lookbooks and campaigns. What it almost never shows is how it works. Here's how I plan a corporate video that shows the process, the team and the thinking behind the garments.
An engineering firm sells technical knowledge that the client can't judge at a glance. Here's how I plan a video that shows how you work and why a client can trust you with a project.
An accountancy firm sells something you can't see: judgement, order and peace of mind. Here's how I plan a video that puts a face to the team and explains how you work without technical jargon.
An architecture practice sells projects that take years and are almost always seen in photos. Here's how I plan a video that shows the process, the team and the spaces without looking like a catalogue.
A consultancy sells judgement, and judgement can't be filmed. Here's how I plan a video for a consultancy: who appears, what is said and how it's shot without exposing any client.
An NGO doesn't sell a product, it asks for trust. Here is how I plan a video for a foundation: which story to choose, how to film with respect and which mistakes cost you credibility.
A corporate documentary is closer to observing than to directing. Here is how I prepare and shoot one: what is decided beforehand, how I work on set and what happens in the edit.
A corporate video works when each section has a specific job. Here is how I order mine: what goes at the start, what goes in the middle and how I close.
A startup doesn't need a three-minute institutional video. It needs a few well-chosen pieces. Here are the ones I film first, in what order and what can wait.
When a company asks for audiovisual production for an event, each side understands something different. This is what I include, in what order, and what is worth deciding before the day of the event.
Filming an event in another city isn't the same as filming it in Madrid. Logistics, set-up times and what you can take for granted at the venue all change. This is what I prepare before travelling.
A hybrid event isn't an in-person event with a camera at the back. It's two different experiences that have to be solved at the same time. This is what I check before accepting to cover one.
Filming outside Spain adds layers of logistics that aren't always obvious at first: permits, equipment transport, insurance and coordination with a local crew. This is what I check before accepting a corporate shoot abroad.
Documentary and advertising are not the same format, and choosing the wrong one leaves the video stuck halfway. Here is how I decide between them and when it makes sense to mix them.
In sport the calendar rules: training sessions, matches and sponsors set when I can film. Here is how I plan access, interviews and live shooting for a club or a sports brand.
In pharma, every shot goes through compliance before it is published. Here is how I plan the script, the plant shoot and the interviews so the video meets the regulations without losing its natural feel.
Shooting on the street or in a building you don't control almost always requires authorisation. Asking for it late is the easiest way to lose a shooting day.
The footage from a corporate shoot can almost never be recreated. Backup isn't an optional step at the end of the day: it's part of the shoot itself.
Insurance is a product you don't see until you need to use it. The video has to build that trust in advance, without empty promises or jargon nobody understands.
More and more often I'm asked for testimonials recorded without me physically being there. Here is how I prepare them so the quality doesn't look amateur next to the rest of the corporate video.
A teaser and a full corporate video are not the same piece cut to different lengths. They serve different goals and are planned differently from the technical script onwards.
Every corporate shoot produces far more footage than ends up in the final video. Here's which extra shots I ask for and how I organize them to get weeks of social media content without scheduling a separate shoot.
Filming for a public administration isn't the same as filming for a private company: approval times, tone and who you're accountable to all change. Here's what's different and how I organize it.
I use AI tools to transcribe, subtitle and clean up audio. I don't use them to decide the pace of the edit or to write the script. Here's where I draw the line and why.
Filming in a food processing plant has its own rules: hygiene, safety and a production line that doesn't stop for a camera. Here's how I approach it so the video turns out well without slowing down operations.
Before finalizing a corporate video, it's worth being clear about which formats, resolutions and rights the delivery includes. Here's what I ask for myself when I wrap a project, so there are no surprises at the end.
At a law firm, video isn't about going viral, it's about conveying seriousness and sound judgment before the first call. Here's how I approach format, tone and filming so it fits the sector.
The price of a corporate video doesn't just pay for filming and editing. It also pays for a specific usage license. Here's which clauses to lock in before filming so you don't find out later what you can't do with your own video.
A small business doesn't need big-brand production values. It needs a clear goal, just the right amount of gear and a length designed for where the video will be watched. Here's how I approach it.
In automotive I film very different things under the same brief: the vehicle as a product and the factory or workshop as a process. Here's how I keep the two approaches separate on set.
In construction, a corporate video has to deal with safety, noise and dust. Here's how I plan an on-site shoot so the result is useful, not just pretty.
In hospitality and tourism, a corporate video sells an experience, not a service. Here's how I plan the shoot so it works on the website, on social media and on booking platforms.
In the energy sector, corporate video happens at live facilities, with strict safety protocols and restricted access. Here's how I plan the shoot to comply with regulations and still convey the scale of the project.
In retail, a corporate video has to coexist with open stores and real customers coming and going. Here's how I plan the shoot to respect the point of sale and still convey the brand.
In logistics and transport, a corporate video has to show an operation in motion without stopping it. Here's how I approach corporate video for this sector: which shots matter and what to avoid.
In banking, insurance and fintech, a video doesn't just have to look good: it has to get through compliance without losing authenticity. Here's how I approach corporate video for the financial sector.
In tech the problem is almost never the budget, it's that the product can't be seen. That's why my work starts by translating what the software does into something people understand in ten seconds.
In education, video doesn't just sell a school, it sells a decision about a child's future or a career. That's why I take as much care over minors' image rights as over the real atmosphere a classroom conveys.
In healthcare, video doesn't sell a service, it sells trust. That's why I take as much care over patient privacy as over shots that convey professionalism without feeling cold.
In real estate I don't sell square meters, I sell what it's like to live in that space. That's why I prioritize natural light, the real surroundings and shots a render will never convey.
A workplace safety video doesn't sell, it teaches. I film the plant's real procedure, validate it with the safety officer and leave it ready to be watched as many times as needed.
Filming at several locations isn't repeating the same shoot three times. The crew changes, the light changes, who's available changes. And the result has to look like it was shot by the same person on the same afternoon.
Storytelling in corporate video isn't adding emotion to a product catalog. It's deciding on a conflict, a human protagonist and a resolution before writing the first line of the script.
A behind-the-scenes video isn't the leftovers of the main shoot. It only works if it's planned from the brief, with its own goal and its own format. Here's when I recommend it and when I'd rather not film one.
Shooting on green screen isn't the default option: it only makes sense when the background has to change by channel or when there's no real location that works. Here's when I use it and when I rule it out.
A company anniversary video can end up as a boring corporate video or become a piece people actually share. The difference lies in which story you decide to tell.
A company culture video can boost your recruiting or come across as corporate posturing. The difference lies in what you choose to show and what you leave out.
Without a fixed number of revision rounds set in the quote, an edit can drag on for weeks. Here's how many I include, how I ask for feedback and what I do when a change goes beyond the approved script.
Used well, slow motion highlights a gesture or a product detail. Used badly, it stretches a video that was already too long. Here's when I use it, what frame rate I shoot at and what I avoid.
A well-made welcome video runs under two minutes and removes more uncertainty than an onboarding email. Here's how I approach it: who's on camera, how long it runs and what I include.
A corporate shoot is won or lost before the camera is switched on. Here's how I prepare the call sheet, the schedule and the backup plan so the day goes as planned.
A voiceover can build trust in your corporate video or ruin it with the wrong tone. Here's how I choose the type of voice, the pace and the language based on the message and the audience.
2D animation explains what a camera can't show. Live action builds trust because it shows real people and places. Here's how I decide which to use on each project.
Hiring actors gives you control and saves shooting time. Filming employees gives you credibility but takes more patience. Here's how I decide which to use on each project.
A CSR video can't stand on stock footage of solar panels or statements of intent. Here's how I approach it so it shows filmable facts instead of empty posturing.
A launch video has no room for delays: the event date calls the shots. Here's how I plan backward so the video arrives on time without sacrificing quality.
An annual results video doesn't sell outward — it informs inward. Here's how I structure it so employees and investors remember what matters without getting bored three minutes in.
Shooting in an office during working hours takes as much planning as the filming itself. Here's how I organize the crew, the schedule and the space so nobody's work gets held up.
Interviewing a client for a testimonial video takes more preparation than a camera and a list of questions. Here's how I approach it so the answers sound real, not rehearsed.
Videographer and corporate filmmaker are used as synonyms, but they aren't the same. Here's what changes in the approach, the process and the end result of each.
Subtitles or dubbing isn't an aesthetic decision. Here's how I choose between them depending on the channel, the market and the budget, and how I make sure the brand sounds the same in every language.
An investor pitch video doesn't replace the pitch deck — it reinforces it. Here's how I structure it so a fund or angel investor understands the business in under three minutes.
Filming employees for a corporate video means managing their image rights. Here's the document I need, what it covers and what to do about former employees, minors or third parties who appear on the shoot.
Filming in an industrial plant is nothing like filming in an office. There are safety regulations, noise, production shifts and areas that can't be shut down. Here's how I organize these shoots.
A corporate showreel isn't a recap of everything you've filmed. It's a short piece designed to win someone over in the first eight seconds.
Most employees freeze up as soon as they see the camera rolling. It isn't a personality problem — nobody has explained what's expected of them.
Filming at a trade show or corporate booth calls for a different approach from filming at the office: noise, people walking in front of the camera and just one chance to catch every moment.
Filming a round table with several speakers calls for a different logic from a one-to-one interview. Cameras, audio and crew coordination all change completely.
When a drone shot adds real scale to a corporate video, when that budget is better spent elsewhere and which permits I need to fly near a company in Madrid.
What an employer branding video is, why more and more companies in Madrid are asking for one and how I approach it so it feels credible, not like advertising.
Lav or boom for a corporate interview: neither is better in the abstract. It depends on movement, clothing noise and how much setup time you have.
Filming outside the office can add a lot of value to a corporate video, but it also multiplies the variables. Here's what to control so nothing goes wrong.
What happens before the shoot determines almost everything that happens during and after it. This is what I prepare before switching on the camera.
Without a script, the shoot drags on, the message gets diluted and the edit turns into salvaging something coherent from hours of unstructured footage. Here's how to write one that works.
The right length for a corporate video depends on the format, the channel and what you want to achieve. Here are the ranges I use on my projects and the mistakes that make a video longer without adding value.
Tripod, slider or gimbal: the right choice depends on the type of shot, the space and the movement you want. Here's how I think it through before every shoot.
Light defines the look of any shoot. Here's when to rely on natural light and when it's worth setting up an artificial lighting kit.
One camera can be enough for an interview. Two cameras change the pace of the edit. Here's when it's worth adding the second one.
A generic corporate video doesn't convert and isn't remembered. Here are the most frequent mistakes I see in production and how I avoid them with my clients.
A poorly structured onboarding video gets watched once and forgotten. Here's what makes an internal welcome video genuinely useful.
Measuring the return on a corporate video isn't as simple as counting views. Here's how to do it with the metrics that actually matter.
A brand manifesto video isn't an ad or a typical corporate video. It's the piece that answers the fundamental question: why does your company exist?
B-roll is what separates a corporate video that looks professional from one that looks like a recorded video call. Here are the shots I always film and why.
A testimonial and a case study aren't the same thing. The difference lies in who speaks, what they say and at which point in the sales cycle each format makes sense.
A corporate video that doesn't convert usually has the same underlying problem: it was made to be liked, not to persuade. Here are the most common mistakes.
Sound decides whether your corporate video feels professional or generic. Here's how I handle music, voice-over and sound effects so they reinforce the brand without distracting.
Art direction defines the look of your video long before the camera rolls. Here's what it involves on a corporate shoot and why it's worth planning.
When a client asks me when the video will be ready, the honest answer isn't a date: it's a process. These are the real timelines for each phase, so there are no surprises.
Choosing the right location is the difference between an interview that looks professional and one that looks like it was shot in a storage room. Here are the options I use in Madrid and when each one makes sense.
A teleprompter isn't always the answer. Two questions before every shoot tell me whether it makes sense or whether it will hurt the result.
Getting a CEO to look natural on camera isn't about on-screen talent. It's preparation: a call beforehand, the questions sent in advance, and knowing what to do with your hands when the red tally light comes on.
Automatic subtitle generators save time, but they have clear limits. When I use them in corporate video, when I don't, and what I always check before publishing.
The format you shoot a corporate video in matters as much as the content. Here is when to use 16:9 and when to use 9:16 for LinkedIn and Instagram.
Color grading isn't just slapping on a filter. It's the visual layer that separates a professional corporate video from one that looks homemade. Here's how I approach it.
Audio decides more than you'd think. This is the bare minimum I need to record corporate interviews with clean sound.
A good event recap doesn't film everything: it knows what to choose. I explain which shots you can't do without and what usually ends up in the recycle bin.
Filming a live corporate event involves technical and logistical decisions that leave no room for error. Here I explain what you need, how to prepare and what goes wrong most often.
Using music without the right license in a corporate video can lead to copyright claims, takedowns and fines. Here's what you need to sort out before you publish.
Storyboards aren't just for artists. They're a communication tool that prevents mistakes before you get to the shoot. Here's how I use them in corporate production.
A corporate video director in Madrid leads and delivers a company's entire video process. Here's exactly what they do, how they differ from a production company and how to choose one.
Corporate video prices vary widely depending on scope. Here are the real ranges I work with on my projects, so you can approach any quote with clear numbers.
A half-hour brief saves weeks of revisions. Here are the questions it needs to answer before anyone turns on a camera.
The short list of what you actually need to shoot a company video. No overkill, no gear marketing.
Two formats, two purposes. The corporate video introduces the company. The brand video connects emotionally with the customer. Knowing which one you need changes the budget, the script and the result.
Hiring the wrong filmmaker for a corporate project is expensive. These are the real criteria I'd use to choose before signing anything.
Lighting a corporate interview well changes the result more than the camera model does. Kit, light placement and the mistakes that can cost you an entire session.
Many companies produce their first video without knowing what they'll use it for and end up with a file that doesn't fit anywhere. This is the guide I share before closing any project.
Shooting vertical isn't just turning the camera ninety degrees. Framing, lighting, sound and editing all change. This is the guide I use to produce vertical content for companies in Madrid.
Posting on social media every week without burning out isn't about inspiration. It's about having a system: one shoot day, defined formats for each channel and a calendar that's already locked in.
What exactly a filmmaker does at an event, what they deliver, how they differ from a camera operator hired by the hour and when it makes sense to bring them in from the start.
A good promotional video isn't improvised. Here's how I approach it from start to finish working with businesses in Madrid: what I decide before filming, what happens on shoot day and what I deliver at the end.
I go to their clinic once a month, we set up the gear, they read from the teleprompter and that gives us 30 Reels to publish throughout the month. No script meetings. No wrestling with the camera.
A corporate filmmaker isn't just the person who presses record. They decide what gets filmed, how the story is told and how it's delivered so the video actually works for your business.
What professional event videography in Madrid should include, how to approach it with a commercial mindset, and when it's worth turning it into a piece for sales, brand and recap.