Table of contents
Three companies, three proposals, and everything looks reasonable. The way out is to replace comparison with scoring: fix the dimensions and weights first, then score each proposal. Scores do not replace judgement, but they turn vague preference into a discussable difference.
1. Five Dimensions and Weights
| Dimension | Weight | What to look at | Typical padding |
|---|---|---|---|
| Script understanding | 30% | Grasp of your business logic | Empty B-roll, no narrative |
| Relevant cases | 25% | Comparable complexity | Consumer or property only |
| Team | 20% | Director, camera, post in-house | Fully subcontracted |
| Delivery specs | 15% | Resolution, versions, subtitles, project files | Finished film only |
| Quote structure | 10% | Line items | One packaged total |
Script understanding carries the highest weight because everything downstream depends on it. Get the direction wrong and no amount of polish will explain the product.
2. Reading the Script Proposal
Look for a main line. The common corporate structure — who we are, what we do, why trust us, contact us — is not wrong, but it writes itself generically.
The test: replace your company name with a competitor's. If the script still reads smoothly, it has no specificity. A good script contains facts only you can state: the duration of a process, the scope of a test item, behaviour under a specific operating condition.
Then check how narration maps to visuals. A production company that supplies only mood references and music, with no narration draft, is planning to decide content on set — and that risk transfers to you.
3. Reading the Quote Structure
A comparable quote breaks into pre-production (planning, script, storyboard), shoot (days, cameras, crew, location), post (edit, grade, voice, music, graphics) and other (travel, props, talent, licensed music).
Three single-total quotes cannot be compared. Two proposals at the same price may differ by a full shooting day and one camera position.
4. Delivery Specs Belong in the Contract
Specify: lengths and versions (three minutes, 60 seconds, 15 seconds), resolution and frame rate, subtitles, whether raw footage is delivered, ownership of project files, music licensing scope, and revision rounds with pricing beyond them.
Music licensing is the clause most often skipped. Web use and broadcast use are priced differently, and an unclear clause produces a bill after the campaign launches.
5. The Shooting Day Schedule
Six to eight setups is a realistic day; beyond that quality drops. The schedule should list start times, crew required and props prepared per scene. Factory shoots add shift patterns and safety induction, both of which consume shooting time.
For a corporate film inside a working plant, clearing the area and confirming power and lighting a day ahead is more effective than improvising on the day. Studios specialising in advertising are more comfortable in a set environment but often less experienced with industrial conditions.
6. FAQ
How long does production take? Four to eight weeks from locked script to final cut, including two revision rounds.
Who owns the footage? The contract should grant the client ownership or usage rights, so a change of supplier does not strand the archive.
Limited budget — where to cut? Protect script and post-production; reduce the number of locations and explain fewer scenes properly.
Related
- See also: when 3D animation is the right format
- See also: ranking information on a one-pager
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