Corporate video

Anything a company makes to be understood rather than to be sold to. Anthem and identity films, internal communications, all-hands and executive messaging, recruitment and employer brand, training, and the b-roll library that feeds all of it for the next two years.

The audience is usually employees, investors, or partners rather than consumers, which changes the register. Overselling reads as spin to a room that already works there.

A consumer spot goes through marketing. A corporate film goes through communications, legal, HR, and an executive sponsor, and each of them can move the goalposts late.

The way to survive that is to agree the story before the shoot rather than discover it in the edit, and to build in the rounds rather than pretend they will not happen. That is what the messaging step exists for.

Reynolds American: two months from brief to launch. In four days we captured boarded content with actors, social breakouts, corporate b-roll for other campaign assets and future projects, and still photography.

Constantly. Internal creative content teams and studios are one of the three groups the studio is built to work with, alongside brands and ad agencies.

That usually means acting as an extension of a team that already exists rather than replacing it: bringing crew , gear, and post capacity to a group that has the strategy and the relationships but not the equipment or the bandwidth.

"I trust Port City as much as any vendor I've worked with in my career. They operate as an extension of my internal team and always come through." Chris Zona, Sr. Director, Business and Internal Communications, Reynolds.

It gets logged and kept. A corporate shoot is expensive to mount and the material almost always has a second life in a deck, a recruitment piece, or next year's update.

On the Reynolds job the brief explicitly included corporate b-roll for other campaign assets and future projects, which is the right way to think about a shoot day.