Distribution decides the edit
A film cut for a website homepage and a clip cut for a vertical feed are different pieces of work, not different exports. We agree where a video will run before the shoot, because that determines framing, length, pacing, and whether it has to work with the sound off. Shooting wide and cropping to vertical afterwards is how a piece ends up with everybody's head cut off, so if the deliverable list includes a vertical cut, the shot list accounts for it on the day. Where the destination is a paid campaign, the deliverable list comes out of the digital marketing plan rather than the other way round.
- Brand and company films.
- Product and software demonstrations, including screen capture work.
- Customer testimonial and case study pieces.
- Motion graphics and animated explainers.
- Social cut-downs produced from the same shoot.
- Subtitles in Nepali and English.
Sound off, small screen, mobile data
Most of the people who will see your video are scrolling on a phone with the sound muted, on a data connection they are paying for. That has direct consequences for the edit. The first three seconds have to state the subject visually. Text on screen has to be legible on a small display rather than sized for a monitor. Subtitles are not an accessibility afterthought, they are how the majority actually watch, and burned-in captions for social plus a separate subtitle file for the website is the combination that works. We cut for that reality first and produce the polished long version second. Digital marketing that works for Nepali businesses covers where those clips actually get watched. Titles, lower thirds and end frames are brand assets, so where there is no settled visual system to cut against, branding comes first.
Video that helps the site rather than slowing it
Autoplaying a large video file on a homepage is one of the most reliable ways to ruin a Core Web Vitals score and, with it, a good part of the search performance the site was built for. We deliver correctly encoded, properly sized files with poster frames, lazy loading and a sensible fallback, and we will argue against a full-screen background video on a page that has to load quickly on mobile data. Where the video genuinely belongs on the page, it is embedded so the text renders first. Which of the Core Web Vitals actually move rankings explains what a heavy hero costs you. Video also reaches AI-generated answers through its transcript rather than its pictures, which is a further reason the subtitles are not optional; how to stay in the answer covers that.
Shooting in Nepal, practically
Location work here has its own constraints and we plan around them rather than discovering them. Permissions for heritage sites and public spaces take time and sometimes a fee. Traffic in the Valley makes a two-location day genuinely ambitious. Monsoon months change what can be shot outdoors and when, load-shedding and generator noise affect interior audio, and travel outside the Valley by road costs a day at each end. We give you a schedule that accounts for those, and we would rather tell you a two-day shoot is a three-day shoot before the invoice than after.
Testimonials that are worth the trouble
A customer testimonial is the most valuable and most frequently wasted piece of video a business commissions. It fails when the subject is handed a script written by the marketing team and reads it. We prepare questions rather than lines, interview for long enough to get past the rehearsed answer, and cut for the specific sentence where somebody says what actually changed for them. It also means we never put a claim in a customer's mouth, which matters for the same reason we do not publish figures a client has not confirmed in writing.
What goes wrong in video production, and how we avoid it
- A four-minute brand film and nothing else.
- The long film is the least-watched deliverable. We plan the cut-downs into the shoot so one production day yields the film, the social verticals and the clips the sales team can actually send.
- Audio recorded on the camera.
- Poor sound is the fastest way to make a professionally shot film look amateur, and it cannot be fixed afterwards. We record separate audio and we listen on headphones on location rather than trusting a meter.
- A hero video that breaks the page.
- Encodes are sized and formatted for the web with a poster frame and lazy loading, and we test the page weight afterwards. A video that costs three seconds of load time has to earn them.
- A script approved before anyone considered the edit.
- We give notes on structure before the shoot. A script that reads well on paper and has no visual plan produces a film of people talking, which is expensive and dull.
How we run video production work
- 01
Brief
Where the video will run, who is watching, and what they should do afterwards. The deliverable list, including every crop and cut-down, is agreed here because it changes what we shoot.
- 02
Treatment
A written treatment and a shot list, with the interview questions rather than a script for anyone speaking on camera. You approve the structure before anybody is booked.
- 03
Shoot
A schedule that accounts for Valley traffic, permissions, light and the monsoon. Separate audio, monitored on headphones, and vertical framing captured on the day where it is on the deliverable list.
- 04
Edit
A first cut for structural notes, then a second for detail, then grade, sound mix and subtitles. Two rounds of revisions are included and named in the quote so the process has an end.
- 05
Deliver
Web-optimised encodes with poster frames, platform-specific versions, subtitle files and transcripts, plus project files and raw footage handed over.
What video production costs
Video is quoted per production, not on the build tiers. The price is driven by shoot days, crew size, locations and the number of finished deliverables, so we quote against a treatment and a deliverable list rather than a duration. Motion graphics and animated explainers are quoted by the second of finished animation, because that is what the work actually scales with. Travel, permits and any licensed music are listed separately rather than buried in a day rate.
What pushes the price up
- Multiple locations, particularly outside Kathmandu Valley where travel costs a day at each end.
- Permits for heritage sites and public spaces.
- Larger crews: separate sound, lighting, a director and a producer on the day.
- Animation minutes, which are the most labour-intensive thing on this page.
- Talent, licensed music and studio hire.
What brings it down
- One location and one shoot day, planned properly.
- Interviewing your own people rather than casting talent.
- Deciding the deliverable list before the shoot so nothing has to be re-shot for a format.
- Screen recording and motion graphics instead of a location shoot, where the subject is software.
- Every figure here is a starting point, not a quote. You get a fixed price against a written scope before anything is built.
- Nepali clients are quoted in NPR at local rates, with a VAT invoice against our PAN. International clients are quoted in USD, AUD, EUR or GBP.
- You own the code, the domain and the hosting from day one, on every tier.
Who this is for, and who it is not
Worth a conversation if
- Products or services that are difficult to explain in text and obvious in thirty seconds of footage.
- Businesses with a paid campaign to feed, where creative volume is the constraint.
- Companies with genuine customers willing to be interviewed on record.
- Software products where a screen recording explains more than a page of copy.
Probably not us if
- Anyone wanting a film because competitors have one, with no plan for where it will run.
- Businesses whose website cannot be changed, since an unembedded video is a file nobody sees.
- Projects with no budget for distribution. A film nobody is paid to show is a cost, not an asset.
Frequently asked questions
Do you shoot outside Kathmandu Valley?
Yes, with travel and logistics quoted separately and agreed in advance. Road travel outside the Valley realistically costs a day at each end, and we build that into the schedule rather than discovering it on the morning of the shoot.
How much does a corporate video cost in Nepal?
It is driven by shoot days, crew size, locations and the number of finished deliverables rather than by the length of the final film. A single-location interview day with two cut-downs and a one-location shoot for a three-minute brand film with animation are very different numbers, so we quote against a treatment and a deliverable list.
Can you work from an existing script?
Yes, and we will give you notes on it first if we think the structure will not survive the edit. A script written to be read rather than watched produces a film of people talking, which costs the same as a good one and does less.
Will a video on our homepage slow the site down?
It can, badly, and that is the single most common way video damages a business that just paid for it. We deliver properly encoded and sized files with poster frames and lazy loading, and we will argue against an autoplaying full-screen background video on a page that has to load quickly on mobile data.
Do you provide subtitles in Nepali and English?
Yes. Burned-in captions for social, where most people watch with the sound off, and a separate subtitle file for the website so the text is readable by search engines and screen readers. Transcripts come with the delivery.
How many revisions are included?
Two rounds, named in the quote: one after the first cut for structural changes, one after the second for detail. Further rounds are quoted, which sounds strict and is what keeps a project from spending its whole budget on the fourth version of a title card.
Do we get the raw footage?
Yes, on handover, along with the project files. You are not dependent on us to make a change or to cut something new from the same material later.
When is the worst time of year to plan an outdoor shoot in Nepal?
Monsoon, roughly June to September, for anything that depends on clear conditions or mountain views, and the Dashain and Tihar weeks, when crew, talent and locations are all difficult to book. Autumn after the festivals and spring are the reliable windows and they get booked early.
