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In corporate video production, delays almost always happen while waiting for approvals rather than during filming or editing. The client does not know what to deliver at each milestone, the producer is reluctant to push, and a month disappears in back-and-forth. Here is the six-week schedule with both sides' deliverables.
1. The Six-Week Schedule
| Week | Producer delivers | Client delivers | Risk |
|---|---|---|---|
| 1 | Brief outline, reference list | Business facts and selling points | Too many points |
| 2 | First script, storyboard | One consolidated round of notes | Notes from many people |
| 3 | Shooting plan, scene list | Location, people, props confirmed | Late location change |
| 4 | Principal photography | A decision-maker on set | No one authorised |
| 5 | First cut | All notes in one batch | Notes arriving in waves |
| 6 | Final cut and versions | Sign-off | Endless subtitle tweaks |
The schedule can compress to four weeks, but not at the expense of the approvals in weeks two and five. Time saved there returns later as rework.
2. Three Documents the Client Prepares
A selling-point list, capped at five items. Beyond five, the film becomes a list and viewers remember none of it.
A scene list: which workshop, line or office can be filmed, and who the contact is. A people list: who appears on camera, whether they agree, and whether they need briefing.
Deliver all three at the kickoff and the project runs to schedule. Miss one and week three stalls.
3. Giving Notes on the Script
Consolidate. Nominate one person to collect notes from everyone and hand the producer a single document.
Point at problems, not at solutions. Saying "this section does not show how we differ from competitors" is more useful than "change this line". The producer needs the problem; the solution is their job.
4. Three Things on Shoot Day
First, have one person with authority present throughout. Second, confirm power, access, cleanliness and clothing in advance. Third, prepare backup scenes in case weather or equipment fails.
The common waste on set is waiting: for people to gather, for equipment to be set, for products to be wiped down. That time is billed and eventually appears in the price.
5. Acceptance Criteria by Stage
Review the first cut for structure: does the narrative flow, are the priorities clear, is the length right. Structural changes are cheap at this stage.
Review the final cut for detail: subtitle typos, logo placement, music sitting under the voice, consistent colour. Detail changes are expensive but necessary.
Give all notes at once. Five separate batches mean five renders, and both schedule and cost grow.
6. Planning Multiple Versions
One shoot usually yields a main film, short cuts and vertical versions. The main film serves the website and trade shows, short cuts serve paid media, vertical versions serve social platforms.
Plan versions at the script stage, not after the edit. Vertical framing needs space in the original composition; if it was not shot, cropping later loses information.
7. FAQ
What does a corporate video cost?
Wide range, driven by shooting days, crew and post-production precision. Ask for itemised pricing rather than a total.
Do non-professional presenters look amateur?
No. Real employees carry more credibility. Brief them on key points to avoid reciting a script.
Can we edit from existing footage?
Yes, when budget is limited. If resolution and visual language are inconsistent, the finish suffers.
What happens after delivery?
Encode for each platform's format and length, supply subtitle files, and publish on the website, owned channels and trade show screens.
Related reading
GrowLab columns: Corporate Video · Choosing a Corporate Video Production Company · Short Video Operations
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