In short
- One brief covers every stop, so outputs and look stay consistent.
- Venues, rules and local conditions are planned stop by stop.
- Tell us the dates and venues, and we confirm the crew and travel for each stop.
- You can ask for a short film per stop, a series film, or both.
When the same event travels, the video has two jobs. Each stop should have a good record of its own, and the stops together should look like one series. That needs one brief, agreed before the first date.
This page is for repeated events: a roadshow, a regional tour, a monthly forum or a training series. For a single brand roadshow stop, see brand activation and roadshow videography. For several days in one place, see multi-day event video coverage.
What the master brief contains
Instead of briefing each stop from scratch, write one master brief and only note what changes. It usually holds:
- The purpose of the video and who will watch it.
- A shot list that every stop must capture, such as the stage, the crowd, the key product or speaker, and the venue exterior.
- Style: framing, titles, music approach and how people on screen are introduced.
- Outputs for each stop and for the series.
- File naming, delivery steps and who approves.
The coverage brief builder can help you set this out, and the video purpose planner helps you decide what the series video is meant to achieve.
What varies by location
| What | Why it differs by stop |
|---|---|
| Venue | A hotel ballroom, mall atrium, hall or outdoor space needs different camera positions and sound |
| Programme | Local speakers, language and timing can change |
| Crew | Numbers and call times follow the venue and programme |
| Travel | Distance, flights and overnight stays |
| Permissions | Venue rules, filming notices and local approvals |
The venue filming checklist is useful for each new venue, because the first stop’s answers rarely apply to the second. Ask about house rules for filming, camera positions and power early, since they differ from hall to hall and can change the crew plan.
Keep the master brief short enough that a new crew member can read it in a few minutes. A long document that nobody reads helps no one on the day.
Choosing outputs for a series
- A short film per stop, so each location has its own record.
- A series film built from every stop, for the end of the tour or the start of the next.
- Reusable clips for social media during the series.
- Full recordings of talks or ceremonies, where they matter.
A series film is easier when key shots are planned from the first stop. If you wait until the last date to decide the story, the earlier stops may not have the footage you need.
How we keep a series consistent
After each date we can write a short stop report covering what worked, what to adjust and what to change in the brief. Every crew member receives the same brief and style notes, and we review the footage against it. Footage from every stop arrives with consistent folder and file names, which saves editing time later.
If a date is added or cancelled
Some costs repeat at each stop and some happen once, such as the master brief and the series edit. Our quote separates the two, so you can see the effect of a changed date; see how we quote. The budget worksheet lets you test different numbers of stops.
For planning across states, the regional logistics guide covers what to think about before you confirm locations.
Share the full tour schedule early, even if some stops are provisional, so the crew and travel can be planned across the whole series.
If you have a list of dates and locations, even a draft, we can talk about one brief for the whole series and what we can confirm for each stop. Send it over and we will start there.
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