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Hiring a video production team can make or break your next project.
Most businesses slip up, not because they don’t care, but because they’re not sure what matters.
This guide strips it back. No filler. Just real advice on hiring the right crew for the job.
Planning a video for your business? Then hiring a video production team isn’t just some admin thing you tick off. It’s a call that shapes how people see your brand. That’s why this bit matters. You need a team who knows what they’re doing, people who’ve handled the type of project you’re planning. And if you don’t know what to ask, or who to hire, you’re more likely to waste time or go over budget. This guide breaks it down. Roles, costs, red flags, and everything in between. No fluff. Just facts.
Before you start calling production companies or posting job ads, slow down. Hiring the best team starts with you knowing what you actually need. That part’s often skipped, and it’s why so many projects run into problems.
First: what’s the type of project you’re doing? A short film? A corporate video? A product promo? The answer shapes everything, from the size of the crew to the type of experience to look for.
| Type of Project | Common Crew Needed | Typical Budget Range (Est.) | Notes |
|---|---|---|---|
| Corporate Video | Director, DP, Sound Recordist, Editor | £2,000–£10,000 | Often requires polished, on-brand visuals |
| Short Film | Director, DP, Production Designer, Editor | £5,000–£30,000+ | More cinematic – may need actors, sets |
| Social Media Content | DP, Sound, Editor (skeleton crew) | £1,000–£5,000 | Fast turnaround, multiple formats |
| Product Promo | Director, DP, Gaffer, Editor, Colourist | £3,000–£15,000+ | Needs standout visuals, often scripted |
| Live Event Coverage | Multi-cam crew, Audio tech, Switcher/Editor | £2,500–£20,000 | Needs live production skills |
Be realistic with timelines too. If you want the final cut in two weeks, your options are limited, or you’ll pay more. Faster usually means hiring more people with very specific skills. That’s fine, as long as the budget covers it.
And yes, speaking of budgets, you’ll need to have one. Doesn’t have to be exact. Just a range. It helps everyone. You’ll get better proposals and waste less time.
If you want to hire the right production team, you need to know what each role actually does. Otherwise, you’ll either bring on too many people or miss someone essential, and that can derail your entire production process.
So here’s what a basic setup looks like. This isn’t about hiring everyone under the sun. It’s about building the right crew with the right skills for your type of project.
| Role | What They Handle | Need-to-Know |
|---|---|---|
| Producer / Production Manager | Runs the project. Budget, crew, logistics, scheduling. | Keeps everything moving. Often your MVP. |
| Director | Creative lead. Guides visuals, pacing, and tone. Works with talent. | Make sure they’ve done your type of project. |
| Director of Photography (DP) | Camera, lighting, visual mood. Works closely with the director. | One of the most critical visual roles. |
| Sound Recordist | Captures clean audio. Dialogue, ambient, backup sound. | Bad sound = bad video, no matter how it looks. |
| Editor | Assembles the footage. Handles pacing, transitions, sound design, graphics, colour. | Ask how many revision rounds are included. |
Depending on the scale, you might also need:
If you’re working with a skeleton crew, each crew member might wear multiple hats. That’s fine, but only if they actually can. A sound recordist can’t just double up as a DP. Don’t assume. What works for a corporate video might fall apart on a feature film if roles aren’t clearly defined and properly staffed.
If you’re not sure how these roles work together, this breakdown of our videography team shows what each professional brings to a typical business project.
Also, don’t ignore roles that seem optional. Lighting, for example, handled by a gaffer or a well-equipped DP, can completely shift how professional your video feels. Even with a tight budget, choosing the right film crew members can be the difference between a rough cut and something that elevates your brand.
If you don’t know exactly what you want, your production team won’t either. That’s where a creative brief comes in. It doesn’t need to be fancy. It just needs to be clear.
Think of it as a shared reference point. A short doc or email that outlines what the project is, what you’re trying to say, and who it’s for. Without it, the scope of work gets fuzzy. That’s how projects run long, go off-message, or burn through your budget.
Here’s what to include.
| Section | What to Include |
|---|---|
| Project Goal | What does this video need to do? Sell? Educate? Build trust? |
| Target Audience | Who are you talking to? Be specific. |
| Key Message | If they remember one thing, what should it be? |
| Tone/Style | Serious? Friendly? Fast-paced? Clean? |
| Deliverables | What exactly do you want delivered? (e.g. one full video, 3 cutdowns, vertical) |
| Deadline | Realistic with timelines? Mention key dates, not just the final one. |
| Budget Range | You don’t need to share every number — just be honest about ballpark. |
| Inspiration | Share 1–2 examples. What do you like? What don’t you? |
If you’re not sure where to begin, this video planning guide breaks it down step by step, especially useful for first-time clients.
Spending half an hour getting your brief right will save days later. It also shows the team you’re organised and serious, which sets the tone for the rest of the project.
And if you’re working with a video production company, this brief helps them tailor their proposal. If you’re building your team from freelancers, it helps each crew member understand their part in the bigger picture. Either way, it’s how you align everyone before the cameras roll.
Once you’ve sorted your brief and know what you’re hiring for, the next step is simple: find the best people for the job. Not the cheapest. Not whoever replies first. The right fit.
But where do you start?
If you’re ready to post a job, platforms like Mandy, ProductionHUB, the Production Hub UK, and Backstage are built for this. They’re used by working professionals in the film industry. You can also look on Upwork or Fiverr, but vet harder there.
Here’s the key: be specific. Mention your type of project, timeline, location, and budget range. Don’t just say “Need a video crew.” That attracts everyone, including people who aren’t a fit.
Want more structure for this? Check out this Video Production Business Guide it covers sourcing, budgeting, and briefing from a business point of view.
If you’ve worked with someone before, ask them who they’d work with again. A solid referral from someone you trust is more valuable than a slick show reel.
Even if you’re new to video, ask around. Colleagues. Agencies you’ve hired. A quick DM to a contact on LinkedIn can turn up names fast. Most good people don’t advertise, they get booked through word of mouth.
If budget’s tight or you’re after fresh ideas, try your local film or media school. Students are hungry for experience and often bring serious creativity. Many are already building impressive filmmaking portfolios. Just know: you’ll likely need to be more hands-on. You’re not hiring veterans. But if you’re building for the long-term, this is how you find future crew members.
Tip: speak to a course leader or tutor. They know who’s got the goods. You can also connect through community spaces, co-working studios, or industry meetups.
Yes, you can find crew at a film festival. Go, watch the shorts, talk to people. It’s not just for networking, it’s a live talent showcase. You’re seeing what someone’s capable of, and how they present their work. It’s a goldmine.
Some production companies also attend these events. If you’re looking for a partner who can handle everything, not just individuals, this is where they often show up.
The goal here isn’t just to find a crew. It’s to find people who get what you’re trying to make, and who can deliver, the right crew for your project, not just anyone with a camera. Whether you’re going direct to freelancers, or bringing on a full video production company, take your time. Ask questions. Look at work samples, and always make sure they’ve done projects like yours before.
You can’t hire a crew without talking money. That’s the part most people either ignore, guess, or feel awkward about. Don’t. You don’t need to have a locked-in budget, but you do need a ballpark. Because once the hiring process starts, people will ask, and if your answer is vague, things slow down.
| Pricing Model | When It’s Used | Watch Out For |
|---|---|---|
| Hourly Rates | Editors, sound mixers, junior freelancers | Can rack up quickly if not scoped tightly |
| Day Rates | On-set film production crew like your DP, sound recordist, gaffer, and PA. | Overtime adds up fast (1.5x, then 2x rate) |
| Project-Based Fees | Production companies, producers, directors, editors | Make sure scope is clear, avoid moving targets |
It’s normal to mix and match. You might get a project quote from a video production company, but individual freelancers may charge by day or hour. Just get it in writing. Every time.
Here’s what shifts the numbers:
And don’t forget post-production. Editing, colour, sound mix, and delivery format all take time.
| Item | Rate / Cost | Days / Quantity | Total |
|---|---|---|---|
| Producer | £350 | 3 days (incl. prep) | £1,050 |
| Director of Photography | £400 | 1 day shoot | £400 |
| Sound Recordist | £300 | 1 day shoot | £300 |
| Editor | £300 | 3 days | £900 |
| Equipment Hire | £200 | 1 day | £200 |
| Music License | £100 | 1 track | £100 |
| Subtotal | £2,950 | ||
| Contingency (10%) | £295 | ||
| Total | £3,245 |
Add 15% contingency if you’re unsure. Things change. A good production services partner will flag where costs can shift before it happens, but surprises do happen.
The goal isn’t just to save money, it’s to hire a crew that delivers something that works for your business.
If you’re ready to hire, this is where you start getting real numbers. Not assumptions.
So you’ve chosen your team. Now what?
This part, the paperwork and the first meeting, is where things either get locked in tight or fall apart later. Skip it, and you risk crossed wires, scope creep, or worse, a blown budget. Done right, it saves you time, stress, and revision battles.
Even if you’re hiring freelancers or a small crew, get a contract. Not because you don’t trust them, because everyone forgets stuff.
At minimum, include:
Contracts don’t need legalese. They just need clarity. A good video production team will already have a template. If not, put something simple in writing, or run it past your entertainment lawyer if it’s a big next project.
Decide how you’re going to talk: email, phone, Zoom, WhatsApp, a shared management platform like Trello or Notion, whatever works. Just be clear.
Agree who the main contact is on both sides. When you’re in production, having too many voices causes problems. Centralise communication. Keep it efficient.
Before cameras roll, hold a call or in-person meeting. Go over the brief. Confirm the scope of work. Share any reference videos again. Ask questions. And listen. This is the final step before you hire your cast and crew and start the real work of production.
This is your last chance to align before gear gets unpacked. It’s the difference between “we think we know what you want” and “we’re locked in and ready.”
Also, don’t just assume your team knows what success looks like for you. Tell them. If you’re aiming to promote a new service, drive leads, or build brand awareness, say that. The right crew will shape the execution to meet your needs.
You’re not just hiring creatives. You’re bringing in partners to help bring your project to life. Treat them like collaborators, not vendors. It sets the tone for everything that comes next.
Once the team’s on set, your job changes. You’re no longer just the client. You’re the project lead. That doesn’t mean taking over. It means knowing when to step in, and when to stay out of the way.
You hire freelancers or a video production company for their skills. Let them use them. Trust the process you signed off. If you’ve shared a solid brief and aligned on the goal, don’t micromanage.
But don’t vanish either. Stay available. Be the person they can reach quickly when they need a decision. The best creative collaboration happens when the client is engaged but not controlling.
This should be obvious, but it still gets missed: feed them. Give them breaks. If the shoot runs long, don’t just say “thanks for staying.” Offer more than that. It’s a small cost that gets a big return.
When people feel valued, they do better work. Especially on long shoot days. A supportive film set keeps morale high, reduces stress, and helps everyone stay focused on the end goal.
Refer back to the brief during production. Are things drifting? Are new ideas pulling the team in a different direction? Sometimes that’s good. Sometimes it’s a mess waiting to happen.
If your next production starts feeling like a different project mid-shoot, that’s a red flag. Talk about it early. Don’t let surprises land in the edit suite.
Once you get the first cut back, be specific. “It feels off” isn’t helpful. “This part is too long” or “can we switch out the music at 1:12?,” that helps your editor move fast.
And remember: most teams include 1–2 rounds of revisions. After that, it’s extra time and extra money. Know what you want. Be clear. Stay on message.
Even if you’ve found the right film crew with all the technical skills, the shoot will fall flat if the personalities don’t mesh. It happens. Someone might not be a great fit for your project.
You can’t fix every clash. But you can lead by example. Set a calm tone. Keep communication tight. Resolve small stuff before it becomes big stuff. You’re the one holding the team together.
A well-managed team can take an OK idea and make it shine. A mismanaged one can turn a great concept into a headache. If you’ve done the work to find the right production team, then this is where it all pays off.
Want to hire a production team that gets the job done, properly, on time, and with no surprises? Then do the work upfront. That’s it. That’s the takeaway.
You don’t need to become a director. But you do need to be clear, organised, and realistic about what you want, who you’re hiring, and what the process involves.
To find the best crew for your business video, you need more than a nice reel or slick pitch. You need to check experience. Talk to people. Look at full examples. And be honest about your goals and budget.
If you’re thinking about hiring a video production company, consider how much involvement you want. If you’d rather not piece together a crew yourself, it’s often easier to go with one team that handles everything. But again, vet them. Ask for work samples. Ask who’s actually working on your job. That’s where most hiring a film mistakes happen, assuming you’re getting the “A team,” and finding out later it’s someone else.
Working with production companies like Blue Square Management means you get experienced people who’ve done this before, for businesses, not just film students or hobbyists. We know how to find people who are reliable, who understand the brief, and who don’t waste time.
If you’re planning your next video production, and you want to keep things simple, effective, and professional, we’re ready when you are.
Start with your brief. Know what you’re trying to achieve. Then figure out your timeline and budget range. Next, decide whether you want a full video production company or to build a team of freelancers. From there, vet properly: review reels, check references, and get everything in writing.
It depends on the project. At minimum, most shoots need a producer, director, director of photography, sound recordist, and editor. If it’s a more complex shoot, say, a feature film or scripted ad, you might also need a dedicated film producer, production designer, gaffer, or casting support. Start with the outcome you want, then work backward from there.
You can find production crew members through industry job boards like Mandy and ProductionHUB, or by working with a trusted production company (such as Blue Square Management). Referrals are still one of the best ways to find reliable people. Film schools and LinkedIn can also turn up great leads.
Be specific. Include the type of project, required experience, shoot dates, location, rate, and any equipment expectations. Outline the deliverables and link to your creative brief if possible. The more clear you are, the better the applications.
Look for people who’ve done projects similar to yours, not just “in the industry.” Review full work samples, not just highlight reels. You want strong communication skills, reliability, technical ability, and a proven ability to deliver on time and on budget.
Ask about past projects and how they handle challenges. Share your brief and see how they respond. Do they ask smart questions? Do they understand your business goals? Cultural fit and attitude matter just as much as camera skills.
Keep it practical. Ask about their process, how they work with clients, and what tools they use. Talk through a typical shoot day. Ask how they handle client feedback, changes on the fly, or late assets. You’ll learn more from how they think than from buzzwords.
Ask for references and follow up. Don’t just read testimonials, speak to real clients. Ask about delivery, communication, problem-solving, and whether they’d hire them again. Also, check for proper film credits or links to published work.
Budgets vary. A small, single-day corporate shoot might run £2,000–£5,000. Multi-day branded content or scripted videos can be £10,000+. Cost depends on team size, gear, post-production needs, and project complexity. Always factor in contingency.
Use open, transparent job posts on accessible platforms. Make sure your brief doesn’t assume background or industry in-jokes. Consider reaching out to film community groups focused on diversity and emerging talent. Interview based on ability, not just credentials.
Send a clear brief, confirm expectations in writing, and hold a quick kick-off call. Walk through the goals, timeline, creative style, and key contacts. Whether you hire crew members directly or through a producer, clarity at this stage sets the whole shoot up for success. If you’re working with multiple freelancers, assign someone to handle communication and coordination.
Use tools like Google Drive or Notion to share briefs, calendars, and feedback. Project management platforms like Trello or Frame.io can keep everyone aligned during pre-production and post. It reduces back-and-forth and avoids version control issues.
Pay fairly. Communicate clearly. And give credit where it’s due. Good crew stick around when they feel valued, respected, and supported. Keep the relationship warm, even between projects, and they’ll prioritise your calls when you need them next.
Deal with it early. Talk directly, not through email chains. Refocus everyone on the shared goal: delivering a video that works. If someone’s not the right fit, move fast. Protecting team dynamics is key to delivering on time and keeping morale high.
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