A photo and video production company's website should put the work first, label every project with the client and what the studio did, and let a visitor play any film in one click. Behind that, it needs a client list you have permission to show, the services and crew you offer, and a clear contact route for producers and brand teams. Commissioners judge a production studio in the first minute, mostly on the work and the names.
This is different from a solo editor's or photographer's portfolio. A production company pitches for campaigns with crews, budgets and timelines. The people visiting are agency producers, brand marketing teams and art buyers, and they want to know whether the studio can deliver a campaign of their size.
What do commissioners look for on a production company website?
| Visitor | What they check |
|---|
| Agency producer | Recent work in a similar style, who directed and shot it, crew and capacity |
| Brand marketing team | Work for similar brands, whether the studio handles stills and motion, process |
| Art buyer or photo editor | Stills by photographer, usage-ready quality, client list |
| Prospective crew or talent | Who the studio is and how to get in touch |
The common thread is specific credits. "Campaign for a sportswear brand, stills and 30-second film, directed by [name]" tells a producer far more than a beautiful image with no label.
How should the work be shown?
Lead with the work on the home page, with the project name and client underneath each piece. Then give every project its own page with:
- Client and agency, if applicable
- What the studio did: stills, motion, or both; production, direction, post
- Key credits: director, photographer, producer, editor
- The film, playable in one click
- A selection of stills
- A line or two on the brief
Offering more than one view of the same work helps different visitors. A strip or reel for browsing, a contact-sheet grid for scanning everything at once and a list or log for people looking for a specific project or client.
How do you keep video fast?
Host films on YouTube or Vimeo, or a video host, and play them in a lightbox when clicked, rather than autoplaying large files across the page. Use compressed stills for previews. Heavy self-hosted video can slow the site and count against your hosting bandwidth. See Framer bandwidth limits explained if you build on Framer.
Should a production company show its client list?
A client list is persuasive, but only with permission. Check your contracts and agency agreements before naming brands, and do not use brand logos without the right to do so. If some work is under embargo or confidentiality, show only what you are allowed to and say that more is available on request.
What should the services and studio section say?
Describe what you offer in production terms:
- Stills, motion, or both on one shoot
- In-house directors and photographers, or represented talent
- Production services, such as casting, locations, crew and equipment
- Post-production, if you offer it
- Where you are based and where you shoot
Producers also want to know the size of projects you take on. If you work on campaigns from a certain scale, say so, or give typical shoot lengths.
How should contact work for a production company?
Name a person for new business, with an email and phone number. A form can ask for the brand, agency, deliverables, shoot dates and budget range. Producers often move fast, so say how quickly you reply.
Which template suits a stills and motion studio?
Frameline ($49) is a Framer template for a stills and motion production studio that wins campaigns from its website. The home page is a strip of film. Scrolling runs the work past a viewfinder gate, so the frame in the gate plays in colour and the rest sit in greyscale, with the project name and client underneath. Click a frame and its film plays in a lightbox, from a YouTube, Vimeo or .mp4 link. Every project also has its own page, and the same work is laid out as a contact sheet and a shot log, all driven by one CMS collection. A CRT screen effect can be turned down or off. It has a real phone menu, a setup guide page, a branded 404 and one licence covering unlimited sites.
A director who works alone rather than a studio may prefer Colour Cut (free), built for music video and commercial directors: each film gets its own colour field and CMS page with credits, and the contact page asks for the song and the brief.
For an editing studio or post house, Half Light Film ($49) puts every film on a timeline where each clip's width is its real runtime. For a solo editor or filmmaker, CUT ($49) has a viewfinder hero and a horizontal showreel. See also our guide to video editor portfolio websites and the best Framer templates for video editors.
Frequently asked questions
What should a production company website include?
The work first, with client and credits on every project; a page per project with playable film and stills; a client list used with permission; services and crew; where you shoot; and a named new business contact.
How is a production company site different from a videographer portfolio?
A production company site sells capacity and credits across a team: directors, photographers, crews and post. A solo portfolio sells one person's work. Production sites need clearer credits, client lists and a new business contact.
Should I autoplay video on my production company website?
Autoplaying many large videos slows the page. A common approach is short muted previews or stills, with the full film playing in a lightbox when clicked.
Can I show work made for an agency's client?
Check your agreements with the agency and the brand. Many allow portfolio use after release, but some restrict it. Ask in writing if unsure.
Where should I host video for a Framer site?
YouTube, Vimeo or a dedicated video host keeps your pages fast. Self-hosted .mp4 files work too, but they use more of your hosting bandwidth.