Plan a brand film
that proves what the brand believes.

An advert sells a product in 15 to 60 seconds and ends on an offer. A brand film usually runs two to five minutes, follows someone or something real, and ends on what the brand believes, with the product in the background or absent. People choose to watch a brand film, so it has to hold attention like a short documentary.

Write the belief in one sentence, find the subject whose life proves it, and write a treatment. Then run a pre-interview and a recce, plan the interview and the observed scenes, shoot over two to four days, and cut a hero film and its cutdowns across two review rounds. In Storyflow every one of those documents, from the treatment to the call sheets, comes off the same board.

The belief in one line, the subject and why them, the story in three or four movements, the look shown with captioned references and one clip, the interview approach, the observed scenes you plan to film, sound and music, the deliverables and a rough schedule. Five to eight pages is a common length. In Storyflow the AI writes it up as a PDF from your references and notes, and you rewrite it.

A brand film made with documentary methods at greater length: real subjects, interviews and observed scenes, running from about ten minutes to feature length, and often released on YouTube, a streaming service or the festival circuit. It needs more research, access and time than a two-minute brand film, and clear agreements with its subjects about what they will see before release.

Two to five minutes is the common range for the hero film: long enough for a subject, a tension and a turn, short enough to finish on a phone. Then plan cutdowns of 60, 30 and 15 seconds for paid and social placements. Anything much longer is closer to a brand documentary, and needs planning like one.

Eight to ten weeks is a common shape once the subject is found: two to four weeks of development and the treatment, then six weeks from the yes, with a week of pre-production, a shoot of two to four days and four weeks of post with two review rounds. Finding the right subject, securing access or waiting for a seasonal scene can add months, so start those first.

Look for someone whose everyday life already proves the belief, who is comfortable being filmed for days, and who has something at stake the audience can see. Run a pre-interview before you commit, and check they can give you access to the places and people the story needs. Employees and customers work when the story is theirs, not a script about the brand.

The belief as you understood it from the brief, one subject or a shortlist with the reason for each, a treatment, the look in references and a clip, the deliverables list, a schedule and a budget range. In Storyflow the pitch is the board itself, stepped through fullscreen, and the treatment PDF goes to the client afterwards.

It can draft, not decide. In Storyflow the AI reads the board and drafts a treatment PDF from the references and notes on it, splits the treatment into interviews and observed scenes for the shot list, and drafts the call sheets as PDFs, one per shoot day. It cannot find your subject or earn their trust, and that part is the film.

No. Storyflow plans the film, from the belief to the call sheet. The edit happens in your editing software, review of each cut with timecoded notes in Frame.io, and production paperwork such as sending call sheets and collecting confirmations in StudioBinder. Keep the Storyflow board as the record of the approved treatment, so a late request can be checked against it.

Not during early access. Storyflow is paid-only during early access, with plans from $7.99 a month billed annually ($9.99 monthly). A free plan launches before the end of 2026, and anyone a paid member invites to a board joins free. The client pays nothing to read the treatment.