Birmingham videographer · Brand, corporate, events, social, weddings
The reel, shot by shot
Select a film to play the reel from there, or open the film itself.
The work · 16 films
Move across a frame to skim the whole film. Select it to watch it in the edit suite, with sound.
Services
Product films, sustainability stories and seasonal campaigns, with cutdowns for every channel.
Operations, safety and leadership films that explain something clearly to the people who need it.
Recap films, keynote edits and teasers that build interest before the day.
Chat shows, comedy shorts, interview-led films and branded contests, built for social.
Live sessions and performance films, plus drone footage for sites, routes and landscapes, flown under a CAA A2 CofC.
Now booking my first three couples for 2027, at a founding rate.
Project · Kirby Captures 2026 · 17 clips · 25p timeline
Every film loads into the viewer like a clip in an edit. Scrub the timeline, shuttle with J, K and L, mark in and out with I and O, and watch the scopes read each frame.
Stills
Photographs from three shoots, played back on the camera that took them. Tap either side of the screen, or the control dial, to move through a card.
Services
Seven kinds of work, one person behind all of it. Every project includes planning, filming, editing, colour and sound.
For brands and businesses that need a film people watch to the end.
For operations, safety and leadership teams who need to explain something clearly.
For conferences, awards and company events that need to reach people who weren't in the room.
For brands building a channel with formats people come back to.
For artists and bands who want sessions and specials that look like the music sounds.
For any project that needs scale: sites, routes, estates and landscapes.
For couples marrying in 2027 who want their day filmed by someone treating it as the most important job of the year.
Pricing
Most video people won't put a number on a page. Here are mine, so you know where you stand before you pick up the phone.
from£600
Half a day on site, cut into a set of clips built for the feed.
from£950
Process, safety and training films, shot around a working operation.
from£1,400
A full day of filming, built around a story rather than a list of shots.
from£800
Conferences, awards and company days, covered start to finish.
Camera, sound and lighting for agencies and producers running their own edit. Graded or ungraded footage handed over at the end of the day.
£275half day
£450full day
Pick what you need and the estimate updates as you go.
Process
Typical brand or corporate project, drawn to scale. Event recaps and social clips usually turn around faster.
Delivery
Each film is framed with its cutdowns in mind, so nothing important falls outside a crop. Boxes are drawn to scale.
Questions
Anywhere in the UK, and abroad when the project calls for it. Travel and any overnight stays are listed separately in the quote.
Yes. Most of the corporate work here was shot around live warehouse operations, in hi-vis and inside site safety rules, without stopping the work.
Two review rounds are built into the schedule. Notes are collected on a private review link, timestamped to the frame.
Yes, on request. Raw files are delivered by download link once the final film is approved. Weddings work differently: see the weddings page.
Send an enquiry with your date. If I'm free you'll get a quote and a short call. A signed agreement and a deposit secure the date.
Weddings · Now booking 2027
I'm taking on my first three wedding couples for 2027, at a founding rate. I've been behind a camera since 2017, filming moments that only happen once and people who've never been in front of one. I haven't filmed a wedding yet, so yours would get everything I've got.
Founding couples · 3 of 3 open
The first three couples get the full day for less. In return, I ask to share your film here with an honest review. Once all three are booked, the founding rate ends.
Each slot is one wedding in 2027. Kept up to date as dates are booked.
The honest bit
A wedding is a live event with no second takes, full of people who aren't used to a camera, and it stands or falls on the edit. That's the work I've been doing since 2017.
I started out filming live football for BT Sport, where nothing can be retaken and the highlights went out the same day. Conferences and keynotes since have worked the same way. Your vows get that same discipline.
Warehouse teams, company directors and football fans before kick-off, relaxed enough to be themselves on film. Speeches and messages from your guests need exactly that.
Most of my corporate work was filmed around live operations without stopping them. A ceremony is no different: you shouldn't notice the camera until you're watching the film.
Music videos taught me to edit to a song, not just over it. Your highlights film should feel the way the day sounded.
Coverage
Up to ten hours, from getting ready to the first dance. These times are only an example: your day sets the schedule.
An example day, drawn to scale. Highlighted: the parts filmed on two cameras.
The package
Founding rate£950
The full day, for the first three couples who book. The usual rate will be £1,450.
Questions
No, and I'd rather tell you now than have you find out later. What I have done is live events, interviews and music films, which covers most of what a wedding asks for. The founding rate is there because you'd be taking a chance on me, and I don't take that lightly.
Not yet. That's what the founding couples are for. You can watch every other film I've made in the work, and I'm happy to talk you through exactly how I'd film your day before you commit to anything.
Everything that matters is recorded twice. The camera writes to two cards at once, a second camera body is on hand, and the vows and speeches are recorded on separate mics as well as in camera. If one thing fails, there's another copy.
Not as standard. I run two cameras myself through the ceremony and speeches. If your day is big enough to need a second operator, I'll say so in the quote, once I know someone is free for your date.
Not all of it. A full wedding day runs to hundreds of gigabytes, far too much to send. If there's something you'd like to keep uncut, such as a reading, a song or a message from a relative, tell me and I'll send those clips alongside your films.
When all three founding dates are booked. The slots above are kept up to date, so what you see is what's left.
About
I'm Ben Kirby, a videographer working across brand films, corporate and internal communications, events and social content. I shoot, edit and grade every project myself, so the person you brief is the person who delivers the final cut.
I've been behind a camera since 2017, when I started out filming live football for BT Sport. From there I moved into social-first production in Birmingham, then spent three years in-house in logistics. Each taught me something different: how to deliver against a hard deadline, how to run a production from script to wrap, and how to film on a working site without stopping the work around me.
LUMIX S5II · try the controls
Pick a setting on the control panel, then turn a dial. Tap the screen to focus.
The grade
The same frame twice, from my CallMy film. On the left, the clip exactly as it came off the camera in D-Log; on the right, exactly as it appears in the finished film. Drag across it, or switch between the two.
The strip underneath is a waveform: how bright every part of the picture is, from black at the bottom to white at the top. D-Log lifts the shadows and holds back the highlights so nothing is lost on the day; the grade sets where black sits and builds the contrast and colour back in.
Career
Camera operator and editor · Work placement
I filmed Solihull Moors' home fixtures in full, then cut the key moments against a same-day deadline and delivered them to the BT Sport team for the National League highlights show, broadcast later that day. After the final whistle I interviewed both managers.
Production assistant · On The Tools
Electric House runs the On The Tools social channels. I worked across every stage of a shoot: writing scripts, casting and booking talent, securing locations and props, managing budgets and talent fees, and helping with set and prop design, stepping behind the camera whenever the production needed it. No two days were the same, and it gave me a working knowledge of how a production fits together.
Creative Content Producer · In-house
Training, testimonial, documentary and campaign films for one of the UK's major logistics businesses, covering warehouse operations, safety campaigns, conferences and leadership meetings. The kit changed with the brief, from cinema cameras and drones to 360° and action cameras. It taught me how to get a good shot on a busy site without stopping the work around me.
Freelance commissions
For Ladbrokes I've covered Premier League fixtures and international friendlies, interviewing supporters before kick-off. Away from commissioned work, I've also made music videos for friends.
Approach
Every shoot starts with a clear brief, a shot list, a schedule and, wherever possible, a recce. Locations, permissions, talent and kit are settled in advance, so the day runs calmly and nothing important is left to chance.
Much of my work happens in places that can't stop for a camera: warehouses, live sites and events. I keep a small footprint, agree access with the people on the ground and fit the filming around their day, so people relax and the footage feels real.
The edit starts with who will watch it and where. A training film, a campaign and a social clip each need a different pace, length and shape, so every film is cut for the people it's for, with captions and 16:9, 1:1 and 9:16 versions where they're needed.
Most of my films are carried by people talking: interviews, testimonials, presenters and fans. Viewers will forgive an imperfect shot long before they forgive audio they can't follow, so everyone who speaks is mic'd, room sound is recorded as a backup, and every film gets a proper mix.
Spec sheet
| Main camera | Panasonic LUMIX S5II |
|---|---|
| Equipment | Panasonic LUMIX S5 as a second body, DJI RS 3 Pro gimbal, DJI Mini 3 Pro drone, Rode Wireless GO II radio mics |
| Frame sizes | 6K 2.39:1 (6008 × 2512), DCI 4K (4096 × 2160), UHD 4K (3840 × 2160), HD |
| Frame rates | 24p, 25p, 50p and 59.94p |
| Aerial | UHD 4K drone footage at 25p, flown under a CAA A2 Certificate of Competency with a registered Operator ID |
| Edit | Adobe Premiere Pro |
| Delivery | H.264 masters, with vertical and square cutdowns on request |
Frame sizes and rates are read from the films in this portfolio.
Contact
Tell me what you're planning and when. You'll get a reply with availability and a quote.