Table of contents
Picking a commercial film production company by showreel alone often goes wrong, because the reel is a team's history rather than the ability of the person who will handle your project. Here are six criteria, a quote breakdown and a staged acceptance method.
1. Six Criteria, Only One Is the Reel
| Criterion | What to look at | How to judge |
|---|---|---|
| Industry fit | Work in a comparable business | Ask for same-industry cases |
| Scripting | Can they structure an argument | Request a one-page outline |
| On-site control | Can they run a shoot | Ask team size and roles |
| Post capability | Editing, grading, voice in-house | Ask what is outsourced |
| Revision terms | Rounds and overage rules | Put it in the contract annex |
| Deliverables | Horizontal, vertical, subtitles, source | List each item in the contract |
Scripting filters best. A team willing to write a one-page outline before quoting has usually done real proposals; a team that only sends a reel will be painful during revisions.
2. Where the Money Goes
Four blocks: planning and script, shooting, post, and other costs such as talent, location and licensed music. Price differences come from shooting days, crew size and finishing level.
The same three-minute film can differ by a factor of two, and the gap usually sits in days and revision rounds rather than equipment. Equipment is standardised; labour is not. Compare quotes by block.
3. How to Run the Pitch
Give every vendor the same brief: one page of company background, a one-page script direction and a single creative thought. You are comparing understanding, not layout skill.
Ask for a budget allocation sheet: how much goes to shooting, post and talent. Teams that split it can count; teams that refuse usually leave room for later additions.
4. Staged Acceptance
| Stage | Acceptance | Payment share |
|---|---|---|
| Script locked | Outline, storyboard, narration | 30% |
| Shoot complete | Footage backup, key shots confirmed | 40% |
| Delivery | Three cuts, subtitles, source files | 30% |
Staging surfaces disagreements early. Ten revisions at script stage cost far less than one at delivery.
5. Common Traps
Footage ownership not stated, so you cannot cut a social version later. Music licensed for personal use only, so the film is taken down when advertised. Revision rounds described as "reasonable", which in practice means unlimited or none.
6. FAQ
What is a reasonable quote?
There is no universal figure. Collect three allocation sheets and compare; differences in labour and rounds are normal, differences in equipment deserve a question.
Should we visit a set?
If possible, yes. On-site control does not show on paper.
Can we hire post only?
Yes, if the footage is good enough. Finishing phone footage has limited returns.
Is a production company different from a film studio?
The work overlaps. Production companies lean toward commercial use and placement formats; studios lean toward original content.
See also
- Corporate film: brief to delivery
- Feature film scripting: three acts
- Reusing footage for social clips
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