How to Minimise Your Costs in Video Production
- aimeecheung123
- Nov 18
- 4 min read
Lucas and I started filming as a one or two person crew. Between us, we would pitch, produce, take care of 2 cameras, lights, sound, conduct the interviews, manage logistics, manage the client, and in this particular shoot (see photo), speak broken Khmer fluently.
So we started lean, learnt to be resourceful quickly and built great relationships with our clients and local subjects as there was no hierarchy to hide behind.
As we progressed, the productions and expectations got bigger, but the underlying request was almost always "do more with less" (relatively speaking). Here are a few things we've learned along the way...
Video production can get expensive very quickly. But high cost doesn’t always mean high quality, and spending less doesn’t always mean a reduction in quality either. When it comes to production, I genuinely believe that less can really be more.
From our experience, here’s how to make the most of your production budget:
Be super clear on your story
It's absolutely normal to have some creative drift during the early stages. Concepts evolve, we realise some things aren't feasible, people aren't available and so on. But there has to be a cut-off point. When the story keeps shifting, everything else follows like timelines, shoot days, locations, edit rounds etc.
We lock our storyboards in early and stick to it. A clear storyboard acts as our map: it keeps expectations aligned and helps with clearer decision-making. This discipline alone can help you save thousands of dollars further down the line.
Plan like crazy
Pre-production is where you save money (not on set). But it's also where clients need to spend money - I need to be given time to identify the right talents, build a relationship with them so they're comfortable with this whole journey, to identify the best filming locations, to get filming permissions, to get the right crew etc. I've found that clients always underestimate how much prep is involved. Sometimes clients expect our crew to just rock up with a camera and just film - but film what and when, and with who?
Every hour spent planning with talents, locations, shot lists, schedules and logistics is time saved during filming. You want your shoot to feel like choreography, not chaos!
Keep locations simple
Generally, at least a couple of different locations gives the right amount of texture in a branded content film. Depending on the story though, this can be a little flexible. Some locations are really non-negotiable to tell a story, but if the location is really beyond reach due to permits or availability or weather, tap into any archival assets.
Virtual production is also quite a big thing now, especially in China. We've never had to use it so I can't comment on the end result, but that's certainly an alternative option worth considering.
We work with fantastic directors and DPs who are really smart with framing and lighting so within one location, we can achieve different settings, textures and moods (see my next point on crews).
Use a smart, lean crew
The great thing about production crews in Asia are that crew members can wear multiple hats so no-one is waiting around on-set. I have DPs who can cover sound and light, gaffers who can also be camera assistants, and sound operators with minibus driving licences to drive the crew during the shoot. This has been key to being able to offer lean crews and lower production budgets during (lets be honest) leaner times.
Having an aerial team is always a fantastic addition to get those establishing location shots or breath-taking landscapes for tourism shoots, but drone pilots can also be expensive depending on where you're filming. It can also be touch and go on whether you'll get the drone permits for your location and if the weather will be on your side. If it's looks like more hassle than it's worth, we've delved into stock footage in the past, particularly for cityscape shots where permits are near impossible to obtain with all the skyscrapers and corporate branding.
No fancy schmancy gear
More gear or expensive gear doesn’t automatically mean better results. A smaller, agile set-up often means more flexibility, faster turnarounds and fewer crew costs.
I've witnessed a shoot using a super fancy expensive camera and it was just a pain to rig-up, we ended up losing too much time on the shoot and it was a nightmare in post-production as the raw files were too large to transfer to the editor. It was all down to the choice of camera which affected the entire production. The extra expense for the fancy camera ended up costing us even more in a multitude of ways.
In almost all our shoots, Sony FX3s or FX6s, or Canon C70s have been more than sufficient. And no need to go crazy with the lights either. We much prefer using natural light where we can, enhanced with a simple light set-up for interviews.
Shoot for longevity
If you’re investing in a video, think beyond one main deliverable. Capture extra soundbites, behind-the-scenes moments or wide shots that can be used for future deliverables. It’s a simple way to tease more from the production budget and the story.
Work with the right team
"If you pay peanuts, you get monkeys!" It’s tempting to chase the lowest quote, but this saying has proven true in almost every walk of life nowadays. The creative industry has become this barrel where everyone is racing to the bottom to be the cheapest option. Then the costs start creeping in reshoots, revisions or missed creative opportunities.
The right team will help you find ways to produce your films to minimise costs. And minimising cost isn’t about finding the cheapest way, it’s about finding the smartest way from experience and pulling on the right resources.
When everyone’s aligned on the story and creative direction, the process becomes smoother, sharper and more intentional.
