Corporate Interview Video Packages in Dallas
Your leaders, on the record.
One shoot puts your leadership on camera with a drafted question set, cinematic lighting, and broadcast audio. Four fixed fees, from a single executive spotlight to a full corporate narrative, each delivering a hero film plus vertical cuts and professional photos.
Four packages · $3,500 to $6,000 · everything included
Proof in motion
Corporate interview video sampleWatch a sample.
Tabitha Goldstaub, marketing director of Rightster, on what her company does for fashion week rights holders: a business explained by one of its leaders, in her own words.
Tabitha Goldstaub, then marketing director of Rightster, on how the B2B video network distributed and monetized fashion week video for IMG and other rights holders, how social media kept viewers on delayed show streams (stream times went from about three minutes to 24), and a day in her life during New York Fashion Week. Filmed for Models WebTV's fashion week coverage and produced by Image Media Lab.
Read the transcript
Hi. My name is Tabitha, and I'm Rightster's marketing director. Rightster is a B2B video network, and our job is to help rights holders distribute their video, engage their audience, and ultimately monetize them. Our biggest clients are in sports, news, and ultimately fashion, where we help Mercedes-Benz Fashion Week, London Fashion Week, global fashion weeks like Australia, Milan, Paris, to distribute the content that they're creating to audiences across many, many publishers, and make sure that it is monetized.
Clients like IMG and Milk Made, or London Fashion Week, they come to us because we take away the pain of distributing video, instead of them having to find the right production company, manage the streaming, manage all the different publishers, support their sponsors. I mean, the list goes on of people they have to deal with. We use software to take all of that pain away. We like to think of it as the plumbing: all the things that they don't want to be doing, so they can focus on the things that they do best.
Our biggest goal this season for Fashion Week is to double the traffic. Every season we've been able to, and this season I'm really looking for the highest number of distribution partners. That means we make sure that the content is on Facebook, YouTube, this season for the first time on Twitter, but also across all the other publications.
What's really important is the portal that we've built for IMG allows for big sites like Style.com to get the content and stream that on their sites, but also thousands of Tumblrs that are accredited by IMG, they can come and get that content. Our job is really about access and at the same time controlling the story.
Our main job, obviously, is to make sure that live streams and the video on demand is across all of the different sites. We also help designers to show their fans the live streams as well. The portal that we built for IMG, that you can see at the links below, that is also a place that designers can come and get their embed codes for their show. Designers now are getting so much more involved in their own community, so not only can they embed on their own site, but also on Facebook, and finally on Twitter now.
Social media is important for all content, but with fashion weeks, when they are notoriously delayed, you have a show that might be 15 to 20 minutes late, social media really comes into its own to try and keep people on the stream. You've got Style.com, or a blogger who has created an appointment to view, all the fans there on the page waiting for their show. And the anticipation... My favorite part of the show has to be the anticipation of when are the girls going to come out, when are the lights going to go down. Social media can now be a way to enable the blogger or the website or the newspaper to keep people on the stream while the people are waiting.
What we've seen now is that social media can actually enable stream times to go from, we were at about three minutes, all the way up to 24 minutes last season. So that's great for the designers, it's great for IMG, and without talking too commercially, it's also great for the sponsors. If you think about the time with brand that someone's got with Mercedes-Benz or Toni&Guy or with Motorola, it's a completely different experience.
Firstly, can't believe anyone would actually want to know what my day was like. A lot of people, I try and hide what my day is like. I tell people I'm up from six, but I'm probably up from about 4:30. Head office is in London, so I'll be emailing to them before I get out of bed and into the gym. I then pretend that I'm not in the gym as I'm emailing or on the phone, to settle the London issues first. Once I've got them in a holding pattern, I then try and get dressed as quickly as possible, leave the office, probably have to go back upstairs again because I've forgotten a thousand things.
I'll then find myself in the New York office, make sure that the team are happy there, fed, ordered, then run up to Lincoln Center. So that's when I'll then make sure that the crew... So we work with the big production companies, and I need to go and be incredibly polite, because these really are the guys who make the whole thing happen. Walk around, make sure everything's as we all agreed it was going to be. Then I will try and go back to the office, make sure that Diana, who looks after all of our publishers, is happy, Style.com are happy, Tumblr bloggers are happy. Then I'll need to go back up to Lincoln Center, or down to Milk Studios, and make sure that the sponsors are happy. This is the best part of my day: I get to see some shows, as long as I'm sitting next door to someone who is a sponsor. Generally, then I will run around trying to solve whatever problems happened, and then go to a fashion party, which sounds incredibly glamorous. Generally I'm either congratulating or apologizing to someone.
Then, God, and then I go home and I try and eat some food, keep working. Australia then wakes up; something will have gone wrong. I mean, it's a dream day until something goes wrong, and then that whole thing goes out of whack and I have to start all over again. And that's eight days. And then there's London, and then there's Paris, and then there's Milan.
I think it... Oh, yeah. It's brilliant. Besides the fact that FilmAnnex are obviously one of the biggest distribution partners of ours that work in fashion, and a hugely credible network, I think the thing that really got my heartstrings was when I found out about the philanthropy side and Women's Annex, and the work that FilmAnnex have been doing in Afghanistan and in the schools to get women online, and to make it credible and acceptable for women to be making money online. I can't think of anything more important, when you're working in a commercialized industry, to help other women work in an industry where they can too make money. I think we're incredibly lucky as women in New York and women in London, and I'd love to be able to help more to make sure that women in Afghanistan and across Africa can get the same experiences.
01 / The packages
Pick the film
Four films, four fees.
Every tier includes the shoot, editorial interview direction, a color-graded hero film, vertical social cuts, and professional photos. The price is the full fee.
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The Executive Spotlight
$3,500One executive, lit and shot like a magazine cover, with broadcast audio to match.
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The Success Story
$3,500Customer testimonials shot like a brand film. Proof that converts.
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The Leadership Duo
$4,500Two voices, one cohesive narrative. Built for partnerships, co-founders, and leadership pairs.
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The Corporate Narrative
$6,000The cinematic brand story that defines your company in under three minutes, with the executive content library built around it.
| Package | The Executive Spotlight$3,500 | The Success Story$3,500 | The Leadership Duo$4,500 | The Corporate Narrative$6,000 |
|---|---|---|---|---|
| Shoot day | Half day | Half day, on location | Half day, two cameras | Full day, multi-subject |
| Crew | Director-cinematographer | Director-cinematographer | Director-cinematographer, two cameras | Crew with B-roll capture and on-camera coaching |
| Hero deliverable | 1 hero interview film plus a 60-second LinkedIn cut | 1 hero testimonial plus a 30-second cutdown | 1 hero narrative film plus 2 leader reels | 1 hero brand film, a 60-second cut, and 3 leader reels |
| Vertical cuts | 5 captioned cuts | 5 captioned cuts | 5 captioned cuts | 8 captioned cuts plus a BTS vertical |
| Photos | 8 professional photos | 8 professional photos | 8 professional photos | 15 retouched portraits and photos |
| Delivery | 7 business days | 7 business days | 7 business days | 10 business days |
| Next step | Request this package ↘ | Request this package ↘ | Request this package ↘ | Request this package ↘ |
02 / In every package
The fundamentals ride along
Standard,
on every shoot.
Whichever package you book, the crew, the gear, and the finish stay the same. The fee changes with scope, never with quality.
Senior crew
A director-cinematographer on every shoot. Crew scales with the package, from one operator on The Starter to three cameras plus an audio engineer on The Marquee Event.
Cinema-grade gear
Full-frame cinema cameras, professional audio, and lighting kits.
Color-graded edit
Hand-finished by an editor, not run through a template.
Licensed music
Royalty-free tracks cleared for paid and organic use.
Multi-format delivery
Vertical, square, and horizontal cuts where applicable.
Dallas-based production
No travel fees inside DFW.
03 / Why it works
The method
Direction included.
Most corporate interviews fail in pre-production, not on set. Every interview package includes editorial direction: we draft the questions, structure the story, and coach delivery so your executives sound as sharp as they look. One session yields the hero film, the vertical cuts, and the photos, so a single morning on camera feeds your website, LinkedIn, and sales decks for months. These guides show the homework behind the method.
Start a project
Put a leader on camera.
Tell us who's speaking and what the film needs to do. We'll recommend the right package, confirm the fixed fee, and lock in your shoot date.
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