Vertical reels, portrait in-feed, landscape cuts. One vetted production team. 40+ markets. Transparent pricing. A connected solution where one shoot fuels weeks of content.
Vertical-native social content produced for enterprise clients across financial services, retail, automotive, and lifestyle. Built for the feed, designed across formats, ready for reuse.
Social media video production is the planning, filming, editing, and delivery of video content built specifically for the cadence, aspect ratios, and behaviours of social platforms. The output answers a different question than other formats: how do we keep up with the feed?
Social video sits at the volume end of the content pipeline. Brand video sits at the top of the funnel as one piece. Social video sits across every funnel stage as fifty pieces. Five years ago, enterprise brands commissioned monthly social shoots and posted twice a week. Today, the same brands are posting daily or more across LinkedIn, Instagram, TikTok, YouTube Shorts, and Meta paid placements. The volume requirement broke the project-by-project production model years ago.
That gap, between the volume of social content required and the cost of producing it under the old agency model, is the gap yourfilm. closes. One shoot fuels weeks of content. One brief produces dozens of platform-native cuts. One production library compounds into months of repurposable assets. The work is the same. The economics are different.
The number of posts a brand needs to publish each week cannot be served by an agency running individual project briefs. The brief takes longer than the content lasts. The turnaround is slower than the feed moves. By the time the asset is delivered, the moment has passed, the algorithm has shifted, and the social team is already briefing the next one.
The brands winning on social are not running more campaigns. They are running a production system that generates content at volume without rebuilding the brief each cycle. The unit of work changed from "one video" to "one shoot, thirty cuts, six weeks of feed". Most production companies are still optimising for the wrong unit.
When a social shoot is planned correctly, a single day produces everything across every format: the hero cut, the cutdowns, the vertical edits, the platform-specific versions, the paid social variants. Not one asset. A library from one brief.
yourfilm. scopes social production as a content system, not as a single deliverable. Every brief is designed to produce volume. Every shoot feeds the production library so future cuts and new versions get produced fast, on-brand, without rebuilding from scratch. The unit of work is the publishing calendar, not the camera day.
Every platform has its own behaviour, attention budget, and technical specs. The right format follows the channel. We plan platform-specific cuts at the brief stage, not in post.
The default social format. Instagram Reels, TikTok, YouTube Shorts, LinkedIn vertical video. 15 to 90 seconds. Built for the swipe, optimised for the algorithm, designed for sound-off viewing with captions baked in.
The portrait standard for Meta and LinkedIn in-feed placements. 4:5 is the highest screen real estate aspect ratio currently accepted across the major in-feed networks. 1:1 square is essentially retired across social.
The universal video format. Long-form social content, owned channel hero pieces, paid ads, embedded video, displays. 15 seconds to several minutes. Wins where dwell time matters and the audience opts in rather than gets interrupted.
Instagram Stories, Facebook Stories, LinkedIn Stories. 15 second native, looping, swipe-up enabled where commerce is involved. Disappearing content built for daily rhythm rather than evergreen reach.
B2B-specific social content. Subject-led video, executive voice content, customer story snippets. Strongest performing when produced as a series rather than one-offs. 4:5 portrait or 16:9 landscape depending on placement.
Paid social campaigns scoped as a system. Hero film plus vertical cuts, in-feed variants, story cuts, captioned and non-captioned versions. Built so the media buyer can swap creative without rebriefing production.
Aspect ratio is the whole conversation in social. Get it wrong and the ad runs letterboxed, the reel crops the talent's face, or the CPM doubles for half the screen real estate. Here is what currently runs across the major networks for paid and organic social. 1:1 square is essentially retired across paid social as of 2025-2026.
The standard for Meta in-feed placements, organic and paid. Maximises screen real estate without triggering the platform's vertical-only crop. 15 to 30 seconds optimal for paid, longer fine for organic.
Full screen mobile. The dominant short-form format. Captions baked in, hook in the first second, vertical-native composition rather than landscape cropped down.
LinkedIn accepts both. 4:5 wins on mobile feed presence. 16:9 still works for talking-head executive content where it reads as professional rather than social-native.
The universal video format. YouTube long-form and paid, owned channel content, embedded video on a website, displays. Where dwell time matters and the audience opts in.
Three cuts from the same shoot. Vertical for feeds and shorts, portrait for in-feed paid, landscape for YouTube and pre-roll. Scoped at the brief stage so the media buyer can swap placements without rebriefing.
1:1 square is retired across paid social. Networks still technically accept it but feed presence is smaller, CPMs run higher, and engagement drops. If a spec sheet from 2021 still lists square, push back.
The strongest social production is decided at the cadence stage, not in post. Social work that fails almost always fails because the brief planned a single deliverable when the publishing calendar needed twenty. Here is what every social brief runs through before crew is booked.
The brief starts with the calendar, not the shoot. Daily, three times a week, weekly hero plus dailies, paid sprints. The cadence determines the format mix, the volume of cuts, and the shoot frequency. A brand posting daily needs a different production system than a brand posting weekly.
Every placement has different specs, attention budget, and content behaviour. The brief locks the platform mix (Reels, Stories, in-feed paid, LinkedIn organic, YouTube Shorts) and the aspect ratio per placement before any shoot is scoped.
Social shoots scoped for one hero piece deliver one hero piece. Social shoots scoped backwards from the publishing calendar deliver thirty cuts. We plan format multiplication at brief stage: hero, vertical cuts, in-feed paid variants, captioned versions, behind-the-scenes, story-format trims, all from the same shoot day.
The shoot is one production. The social system needs to keep publishing for weeks afterwards. The brief scopes the asset library, talent releases for ongoing reuse, music licensing scope, and the production cadence that follows so future shoots compound on the system rather than starting from scratch.
Most social shoots deliver a handful of finished assets. Ours deliver weeks of feed. When we plan a social shoot, we plan it backwards from the publishing calendar. One brand, one location, one day. Dozens of finished deliverables across every platform, plus a tagged content library ready for the weeks that follow.
The path from an idea to a finished social content set runs through four stages. Each stage produces a specific output the next stage needs. Skipping a stage tends to surface as a problem in the publishing cadence, not the production day.
Publishing rhythm locked. Platform mix agreed. Audience profile and behaviour mapped per channel. The output of stage one is a content calendar, not a video brief, because social work is calendar-led, not project-led.
Concepts developed per content slot, not per video. Scripts written for vertical-first viewing where required. Hook-first composition, captions baked in, sound-off readability. Approved before the shoot is scoped.
Vertical-first composition, multi-format capture, talent direction for short attention spans. One day, every aspect ratio, every channel cut planned in advance. Format multiplication built into the shoot list before the crew arrives.
Hero cuts, vertical reels, in-feed paid variants, story-format trims, captioned versions, BTS, b-roll library. Every cut, every aspect ratio, every channel delivered against the calendar. Library ingest for subscription clients.
Each capability earns its place on its own. Connected, they remove the friction that makes always-on social content impossible at most enterprise brands. Project clients use the production capability. Subscription clients access all three.
Vertical-fluent crews across 40+ markets. Briefed and managed centrally from Sydney HQ. Specialist teams who shoot vertical-first rather than landscape-cropped-down. One producer running point regardless of where the shoot lands.
A social content library that grows with every shoot. AI-supported tagging by platform, format, talent, and use case. Modular cuts tagged for paid, organic, story-format, and long-form reuse.
AI accelerates the social production work the most. Automated cut-down generation, captioning, vertical reframing, and platform-specific exports. Faster publishing cadence without dropping production quality.
Same budget. Same calendar. Different output curve. Without a connected solution, every social shoot starts from scratch and the content library never grows. With one, output grows even when spend stays flat. Social compounds hardest because the publishing cadence demands volume that single-deliverable shoots cannot supply.
Illustrative figures based on typical subscription engagement output. Real numbers depend on shoot frequency, content brief, and reuse strategy.
Every social engagement runs through the same six-stage process, whether it is one shoot or an always-on social programme. Stage six is the difference between a project and a publishing system.
Structured brief session covering publishing rhythm, platform mix, audience behaviour per channel, and the role social plays in the broader content strategy. Content calendar approved before any shoot is booked.
Concepts developed per content slot. Vertical-first scripts, hook-led composition, captions baked in from the brief. Shot list designed to deliver every cut from one shoot day.
Vertical-fluent director, cinematographer, sound, lighting, casting, location. Multi-format capture planned into the shoot day so one production yields dozens of cuts.
Every aspect ratio, every platform, every channel. Hero cut plus vertical reels, portrait in-feed variants, story-format trims, landscape cuts, captioned versions. All from the same source footage.
Structured review built into every project. One producer manages feedback across social, marketing, brand, and legal teams. Approval gates designed for short turnaround rather than long sign-off cycles.
Every cut ingested and tagged by platform, format, talent, and use case. Ready to repurpose for next week's calendar without rebriefing. Subscription only.
Vertical-fluent social production crews across 40+ markets globally, briefed and managed centrally from Sydney HQ. Most social briefs go from approval to crew on site in under a week. Subscription clients run on a managed publishing calendar rather than ad-hoc briefs.
Crews already vetted on vertical-first composition, short attention-span direction, and platform-native craft. Specialist directors who shoot for the feed, not for the cinema. One producer running point, one set of standards, regardless of where the camera lands.
There are no fixed rate cards in social video production. Costs scale with crew days, shoot complexity, talent, number of cut variants, and the cadence of the publishing calendar. The ranges below are honest starting points to help frame the conversation, not finalised quotes.
Single shoot, defined scope. Vertical-first reels production, founder-led content, one platform focus. Suited to brands testing social production or producing for a single channel.
Most social production sits here. Multi-format shoots, vertical hero plus 20+ cut variants, paid social campaigns, talent-led social, multi-week publishing calendar production.
Always-on social content programmes, multi-market localisation, paid-organic integrated calendars, multi-shoot retainer engagements with full subscription access.
Most yourfilm. social engagements begin with a single shoot. A vertical reels production, a paid social campaign creative set, a launch sprint. The work proves the model. Some clients stay project-by-project, and that is a first-class engagement. Others move to subscription because their publishing cadence demands it. There is no requirement to commit, no penalty for staying project-by-project.
Defined brief, fixed scope, fixed deliverables. One shoot at a time, priced individually.
Always-on social programme. Monthly retainer plus shoot credit. Managed publishing calendar. Access to all three capabilities.
Enterprise brand teams have requirements that consumer agencies struggle to meet. Master service agreements. IP ownership clauses. Indemnity provisions. Brand asset management. Multi-stakeholder approval workflows. Compliance documentation. yourfilm. operates with these as standard, not as exceptions.
Standard terms drafted for enterprise procurement. Custom terms negotiated where required. No surprises mid-engagement, no chasing approvals on a per-project basis.
All finished social cuts are owned by the commissioning client on delivery, in every format and aspect ratio scoped at the brief stage. Live action master footage delivered as standard. Where social cuts include motion graphics or animated overlays, the source files (After Effects, illustration sets, motion templates) remain with yourfilm. as standard so future cuts and version updates run faster. Full source ownership available, scoped separately if required.
Style guides, brand books, and approval workflows enforced through the production team. Brand teams review before delivery, not after. Captioning standards, motion principles, and visual identity held consistent across every cut.
One producer manages all approvals across social, marketing, brand, communications, legal, and executive teams. The client team has a single point of contact regardless of how many internal stakeholders sign off on a single post.
Talent releases scoped for ongoing reuse, not just one-time campaign use. Music licensing, stock illustration rights, and font licensing all handled in-house. Documentation provided as part of delivery for legal and audit teams.
Even across 40+ markets, one billing entity, one tax treatment, one paper trail. Procurement does not have to onboard a new supplier for every region.
One social shoot to start, or an always-on social programme to build. Same team, same standards, transparent pricing on both paths.
