B2B Video Marketing
The honest range for a single business video in Australia is wide: from about $3,000 for a straightforward piece to $20,000 or more for a brand film, with most single videos landing near $6,000. Those are the ranges yourfilm actually quotes across Australia, broken down in what a corporate video costs by type. But the per-video price is the wrong number to budget from if you produce video more than a few times a year. This guide is part of the complete guide to B2B video marketing.
Priced by type, the ranges cluster more tightly than most quotes suggest. These are real Australian production ranges, not rate-card guesses.
| Video type | Typical range | Can reach |
|---|---|---|
| Customer testimonial or story | $3,000 to $6,000 | $10,000 |
| Event or highlight video | $4,000 to $8,500 | |
| Explainer or animation | $5,000 to $12,000 | $16,000 |
| Product, sales or update | $3,000 to $8,000 | $11,000 |
| Brand or hero film | $6,000 to $16,000 | $20,000 |
| Multi-video campaign or series | $12,000 to $25,000 | $50,000+ |
Entry-level work starts near $3,000; premium brand films reach $16,000 to $20,000. Once you move from a single video to an ongoing series, budgets run from around $12,000 to $50,000 and up.
Across a typical production the spend splits roughly three ways: pre-production 10% to 15% (creative, scripting, logistics, the small share of budget that carries most of the risk), production 35% to 45% (crew, equipment and time on the day), and post-production 45% to 55% (editing, colour, sound, motion graphics, and every extra format and version). Post is a bigger share than most buyers expect, and it is where projects most often run over, almost always because of something decided upstream.
Within any range, four levers move a quote more than anything else: the number of crew and filming days, how much creative and pre-production is needed, the weight of post-production, and how many deliverable formats you need from the same footage. One hero cut is one price; the same footage cut for the website, for LinkedIn, as a vertical social edit and a sales version is another, and planning those at the brief stage costs far less than adding them after delivery.
The line items above are what a quote shows. The costs that quietly matter belong to the brand, not the supplier. Internal time is the biggest: four review rounds across six stakeholders is days of your team's time, none of it on the invoice. Wasted assets are next: content that misses the brief or arrives too late to matter is full cost with zero return. And footage you cannot find has real latent value, raw B-roll, interviews and product shots, but only if it is accessible. Footage stranded on a supplier's server or an ex-employee's drive is something you paid for and will pay for again to recreate.
If you produce video more than a few times a year, the useful question is not what one video costs. It is your cost per finished asset over twelve months, and whether it is falling as you produce more. In a per-project model it stays flat: the fortieth video costs about what the first did, because the overhead resets every time. In an ongoing programme it falls, because the brief gets shorter, the footage library compounds, and formats are planned once rather than commissioned after the fact. It is why the same brand can pay around $6,000 a video buying one at a time, and materially less per asset running the same volume as a programme. The model comparison sits in video subscription versus a production agency.
Count assets, not videos. Across the next twelve months, how many anchor productions do you need, meaning brand pieces, explainers and customer stories, and how many derivative cuts for social, sales and product pages? Price the anchors against the ranges above, add the always-on layer as a monthly or credit commitment rather than a series of one-off quotes, and hold a contingency for the launch moment that always appears. Then pressure-test it: if you are buying more than a handful of projects a year separately, a programme will almost certainly cost less per asset and take work off your team. You can see the tiers on the yourfilm pricing page.
What is included in revision rounds, and what triggers an extra cost? What happens to the raw footage after delivery, and how do you access it? How many deliverable formats are included? And will this build on anything you have produced before, or start from scratch? A partner who can use your existing footage, brand and production context is lowering your cost; one who starts cold every time is not. That reuse is the model yourfilm is built on: every video draws on the library the last one added to, so the cost per asset keeps falling as you produce.
A single business video in Australia typically runs from about $3,000 to $20,000 depending on type, with most landing near $6,000 (yourfilm Australian production ranges). But if you produce video regularly, budget from volume, not per-video: estimate your annual assets and size a programme, where the cost per finished asset falls as the library compounds.
At volume, yes. A per-project model keeps cost per video flat, the fortieth costs about what the first did, because the overhead resets every time. The same brand paying around $6,000 a video one at a time pays materially less per asset running the same volume as a programme, because briefing is amortised and the footage library compounds.
Four levers: the number of crew and filming days, the creative and pre-production required, the weight of post-production (often 45% to 55% of the budget), and how many deliverable formats you need from one production. Starting every video from scratch is the hidden cost; a compounding library is what brings the per-asset number down.
Most clients start with a single project, then let the library compound. Tell us what you are building.