We’re rewinding on 2025, and what a year it was! We met new clients, finished feature films and celebrated life milestones in our internal team.  

So, as another year begins, let’s recap on the last twelve months of Bruizer… 

New year and new beginnings. We were on-theme meeting marketing consultancy firm Edelman through an exciting project for The Avowed video game launch. Helping bring the Dream Scourge to life as part of a live art installation in Shoreditch, we were commissioned to create the promotional video for the event.

Our first foreign travel of the year took four of our team to The Hague (including cam op Will who celebrated his 21st birthday on route to the Netherlands!) AVEVA IGNITE 2025 was a 5-day event, hosting over 1700 attendees across 24 venues, with our highlights team capturing it all. 

Meanwhile in Suffolk, it was a wrap on feature film Black Noise, finishing off with pick-ups in the Bruizer studio. We also welcomed Quiggly Wangford, a new member to Bruizer’s four-legged contingent.   

March saw something completely new for Bruizer, with our first visit to the DPRTE trade show. Extensive preparation made sure we were looking and feeling our best for the two-day event, with a new purpose-built stand to help us stand out from the crowd!

We also completed our first milestone project with the Civil Works Alliance, with three construction giants coming together to commit to the Sizewell C project. Amongst all that, we still found time to let off some steam with our first Bruizer social of the year, going head-to-head (literally!) in a football zorbing match. 

April  

We welcomed Spring by jetting off to San Francisco for the AVEVA World conference, sending a 6-man crew to cover event highlights, capture case studies and provide continual on-site editing support. At the same time on the other side of the world, our Head of Production, Kate, was tying the knot in beautiful South Africa with family and friends flying in from around the world to share the couple’s special day.  

May  

Kate’s return at the beginning of May gave us a perfect excuse for an impromptu trip to McDonalds, all piling into the Bruizer van on Friday lunchtime. 

We bookended the month with another highly competitive Bruizer social. An egg and spoon race, tug-of-war and darts sorted the wheat from the chaff. 

June   

It was a rare treat to have enjoy such local filming, also getting out and about with Orwell Park School and University of Suffolk through the hot weather. Luckily, there was some time to cool off in the studio too, collaborating with TK Hockey to create some stellar social content for their new product ranges. 

July   

Holiday season saw in our first project with new client, Harwich Harbour Ferry. We made the most of the bustling summer holiday trade and fine weather to capture content for their brand film. We also stretched our legs to London and Stevenage, to tick off some internal comms content for clients 

Otherwise, we made the most of our quieter month with some training days and ensured all our in-house kit was spick and span. And to celebrate the birthday of new crew member Jake, we were treated to a Thai feast – unanimously voted the best lunch ever eaten at Bruizer!   

August  

This is where things really got busy.

Preparing for trade show season, we worked with AWE to capture stills content that would promote employment opportunities to ex-military personnel. Two photography days requiring great attention to detail in pre-production to sort the correct military kit, book locations and models.

As well as ticking over open projects, post-production were absorbed by storyboards and animatics, preparing for Buster TV adverts, filmed with Challs at the end of the month. And while all this was going on, we had crew in Bradford filming for The National Lottery, as part of their City of Culture celebration.  

September    

Closer to home, we worked closely with Bosch to capture content ready for their various upcoming product launches. All the while, our editors worked full-steam to keep everything moving in post-production.  

October     

Easing up a little in October – phew! – a handful of the Bruizer team were kept busy buying and selling houses, including Simon and Shane who have both started on the long road of DIY in their first homes.

We reunited with the CAA for a couple of days, working alongside the Air Ambulance teams in the North West and London to create short informational edits for drone pilots. 

November       

The last of these projects saw two of our crew travelling England, Scotland and Wales to visit five charities on the frontline of Britain’s energy crisis.

November also saw the completion of a documentary edit, going behind the scenes of the Fitzwilliam Museum’s ‘Made in Ancient Egypt’ exhibition. In conjunction with University of Cambridge, the 15-minute film was incorporated into a fascinating webinar, giving alumni the opportunity to pose questions to a panel of experts.  

Returning from Germany, the crew threw themselves into various rail qualifications and courses, readying for our first filming day with Barhale. The civil engineering company completed the first major milestone on Christmas day, the early stages of a decade long project to restore London sewer system. 

But before all that, we had a chance to unwind at Bruizer’s own Christmas celebration: dinner and show with the Wolsey Theatre’s rock n’ roll pantomime. 

2026 has a tough act to follow, but we’re looking forward to another amazing year. Wishing all our clients – past, present and yet to come – a great start to 2026. We’re looking forward to working with you again soon! 

Sometimes you’ve got to ask yourself the right questions to get a brilliant answer. Time to think like Bruizer and further the thought-process on that brand film you’ve been debating…

It’s a good question – why have a brand film? A strong brand film can help define a company: where you’ve come from, what you do, and where you’re going. The past, present and future of your business identity, packaged in stunning pictures.

On the fence? Time to ask yourself some key questions and get the creative juices flowing…

Alright bear with us, we know it seems like an obvious one. But even for the most experienced of us, it’s tempting to leap into the creative and get carried away with cinematic potential and Oscar-winning ambition. However, the first and crucial step of the journey really is that simple and shouldn’t be overlooked. Ask the question, what does ‘brand film’ mean to you?

Knowing and understanding what you’re trying to do from the outset and who you’re communicating with will ensure the video works hard for you and in the most seamless way. Think duck: gliding on a visually stunning surface, while relentlessly driving your message underneath. As such, developing a clear vision at the creative stage is crucial (easy with a Bruizer helping hand). It all begins with your top line brief so getting that right is key

Where will my brand film be shown and how can I ensure it’ll be visible?

Once you know who you want to speak to, time to think about where it’s going. Where will your brand film be seen? Does it need to compete with a crowd, or will it be given dedicated space to breathe and entice audiences?

We exist in a culture of short attention-spans so it’s important that your brand film takes account of its surroundings and draws on a creative that will maximise its opportunities in that space. If you’re frequently at in-person events, you may need visuals that steal the show, whether you’re watching to the end or only seeing it for a split-second.

Perhaps your brand film will form part of an induction or have a dedicated page on your website to allow viewers to appreciate the story in full, with opportunity to craft a whole narrative arc, utilise distinctive voiceovers or characters, and construct a satisfying pay-off.

What’s the first impression?

In this digital age, a brand film might be the first look a prospective client has and will use it to gain understanding of your brand. Video is a way to make yourself easily accessible to first impressions and craft these, making yourself familiar to a new or existing audience.

If your company is very costumer-facing, it can’t be underestimated what a difference it makes to see the real faces, so treating the client to a preview of who they’ll be working with, and the standard they can expect, can go a long way to making them feel comfortable. Or if you’re manufacturing product, an in-depth look behind the scenes at your process can speak to your quality and expertise, like this milestone brand film for Maldon Salt.

Atmospheric and artful, this cinema-standard brand film parallels the devotion that Maldon Salt show in their production process. Utilising heritage techniques for their signature rustic taste, their one-hundred-and-forty year history is beautifully rendered through archive and modern day filming, demonstrating Maldon Salt as a brand steeped in experience and dedication.

What’s the takeaway?

Some of the best brand films are successful because they become synonymous with the company identity and bring it to life. Video allows you to appeal to a wide range of human emotions and create something that’ll stick in the mind. Laughing, crying, inspired – you should be looking to illicit an emotive response in the viewer to know you’ve got an idea that’s memorable and will serve you well.

Creating a lasting impact on your audience, with strong visual motifs or an emotional connection, will fix you in their subconscious so next time they need someone like you, you’re on the tip of their tongue.

How will a brand film convey my message?

Not just pretty pictures, video is an integral tool for communication. The beauty is that it’s also one of the most diverse methods available. Subliminal or direct, video content can deliver your key message with just the right amount of nuance but no less oomph. Maybe you’re unparalleled in your field and want to shout about it (I mean, why wouldn’t you?) so a show-stopping approach singing your praises, with real life testimonials, or a record-breaking challenge demonstrating your strengths, might be aptly on the nose.

Alternatively, you might be a quieter or complex character more inclined to subtle messaging. Video allows you to lean into metaphor, showing your message without forcing it on the audience. Show clients you care with demonstrative narratives and visual cues, such as keeping characters protected from the rain or extending each other a helping hand.

And all goes without saying the endless methods of incorporating brand colours, fonts and iconography to ensure your identity is at the forefront, from keeping your logos large and central, right down to the bright purple rug in your main character’s living room – everything can tie back to who you are and leave your audience in no doubt who they’re dealing with.

I’ve already got a marketing strategy – do I need a brand film as well?

Yes! A brand film shows investment in your marketing approach, that you value your image and are looking to connect with people through diversified forms of media. A brand film will help maximise your outreach, broadening accessibility and distributing your message most widely.

With a stellar brand film, you’re not just getting one film; you’re creating something that can potentially support your entire strategy and spearhead a cohesive marketing campaign that spotlights your identity, elevates your company, and achieves it in a way that lasts. It’s the gift that keeps on giving.

Still asking yourself that same question – why have a brand film? The real question is, why not?

Recently we were privileged to collaborate with other great creative minds, working for Edelman to produce an edit that would accompany the launch of The Avowed video game.

Testing our time-management, reactivity and even our green-fingers, we were thrilled to be involved with this one-of-a-kind project. Now see the fruit – or perhaps fungi – of our labours, with an insight into the process…

Looking towards the launch of The Avowed video game, we were commissioned by Edelman to produce an edit that would build hype around the release date. Prioritising 9:16, the video needed to stand out on socials and draw viewers in, working to a creative concept that would both unsettle and excite audiences. Aligning with the game going live, the project had a hard deadline and it was only a month away… so we got cracking.

Among the considerations were temperature, humidity levels, air flow, lighting, growth rate and the interval of the stills: all needing delicate management to balance and optimise the results.

We built dedicated growing environments in our studio to foster the optimum growing conditions. Tailored to suit our kit, the set-up was intricate and required a week to build and test ahead of filming. At the mercy of rigid deadlines, careful planning was necessary to manage the filming schedule and shot list, ensuring all content was achievable and had room for contingency.

At the mercy of rigid deadlines, careful planning was necessary to manage the filming schedule and shot list, ensuring all content was achievable and had room for contingency. The whims of mother nature dealt us the odd poor hand as well as some happy coincidences, so flexibility was also key to capturing the best results given the organic subject.

Two days before the game’s launch, our crew travelled to London, ready to film the final component for the edit: live installation. Created using a shipping container set into the hoarding, Shoreditch streetside transformed into a window to glimpse The Living Lands.

Gaining permission to film on the pavement, we packed light to minimise obstruction to pedestrian. Deploying only a single camera and gimbal, we scheduled time around the installation teams to capture the signed-off piece in smooth, sweeping shots. Obscured passersby emphasise the art’s immediacy, marking the five days it was live for viewing. This kept us in line with Edelman’s original vision of ‘realness,’ underlining the project’s engagement with the public as a live art piece.

Filmed the day before our overall deadline, the race was on to return to HQ, ingest overnight to turnaround the final edit next day.

Bringing it all together, post-production carried responsibility of knitting time-lapse, studio and on-location filming into a cohesive final film. Not just ‘the last bit’ in this case, our in-house editors laboured alongside the film crew for the duration of the project, working through animatics, interim edits and style frames to align the creative concept with the final video output.

In the time-lapse stage, a well-oiled process of ingestion and formatting was required to regularly pull media from the five stills cameras and stay up-to-date with the growing process. As well as allowing initial time-lapse content to be built into the draft edits, this system also allowed us to monitor the fungi growth and adjust accordingly the filming schedule to capture the best growth from each species.

We thoroughly enjoyed working with Creative Giants, Dominic Downing, Jamute, and their teams, as the many hands that contributed to the stunning final film and live installation.

Celebrating three nominations and a big win for short film ‘Crash,’ created and directed by our very own Shaun Forsdyke.  

As the competition drew to a close, guests at the 2024 Oxford Shorts International Film Festival settled in for the annual award ceremony. A line-up of over 120 short films were whittled down to a shortlist of 57, split across 19 categories. Among them, ‘Crash’ was nominated for three awards: best experimental film, best sound and best cinematography.

By the end of the night, ‘Crash’ had become an award winner, clinching best cinematography

(whoop whoop!).

By the Monday night, we were all a little worse for wear, lacking sleep and some of us having lived out of rucksacks over the weekend. But it was all worth the sense of achievement, as we wrapped the actors and swept away a car windscreen’s worth of stunt glass.

Written in 2023, the pre-production stages began in earnest the following spring and were worked through over 4 months. Alongside Shaun, producer Kate Wingar and DOP Andy Parsons shared the load to get the project off the ground. This included recces for numerous potential locations, casting calls and the auditioning process for selecting talent.

Our leading role was superbly portrayed by Matt Biddulph – who’s also enjoyed recent nominations at the Vox and One Voice awards, congratulations! – and the role of his wife being played by Katie Hamilton, the hugely talented actor and writer.

One such technique uses light to achieve a flickering reality effect as Charlie attempts to process his hallucinations. The filming location – a complex of three converted barns – was partly chosen for its full height windows and beamed structure, casting intricate shadows when lit. We employed our CamMate crane, positioned outside each scene and used it’s 21ft reach to sweep a spotlight through the shot, creating the distinctive light tessellations.

As well as being the brainchild of Bruizer’s Head of Post-Production, Shaun, ‘Crash’ was 80% internal Bruizer team, who burned through several dozen takeaway meals, bucketfuls of tea and innumerable rounds of midnight toast to bring Shaun’s vision to life. Special mention also has to go to Gemma Smith, who helped expertly recreate these hypoglycaemic symptoms on set with her concoction for bottled sweat and other magical make-up techniques.

Once in the can, Shaun himself edited the final film, augmenting the filming effects in post and creating an immersive soundscape. In part, these sounds were designed from audio recording of an insulin pen and blood tester. Extremely slowed down, the resulting noises are warped and unknown, contributing to the sense of disorientation and distorted reality experienced by Charlie. 

The finished result is a compelling piece of short cinema (if we do say so ourselves!) And we’re not the only ones to think so, with Oxford Shorts judge, Lorenzo Levrini, agreeing that:

‘This experimental, daring and original piece reconnects us to what cinematography is all about: making the audience feel something through the use of light, camera movement and lensing. Cinematographer Andy Parsons employs surrealism and metaphor in his use of moving light, atmosphere and lens artefacts to convey his director’s subjective experience of hypoglycaemia, displaying imagination, creatively and resourcefulness on a limited budget.’

And more for 2025, Shaun’s latest film ‘Crush it all Down’ is coming soon. With filming underway, follow us on LinkedIn for updates!

AI technology can now create a copycat with only three-minutes of footage. But is it any good? You be the judge.

Artificial Intelligence has long-populated science fiction. The raw dystopia of Ridley Scott’s Blade Runner famously features a rugged Harrison Ford navigating a world where humans and their ‘replicant’ counterparts are eerily indistinguishable. But as the credits roll, you can happily turn off the TV with a remote control that won’t try to kill you.

But in recent years, AI replication is an increasingly real-world question, with audio and video generation platforms gaining currency. Intrigued, we staged a Bruizer test to see if we could create convincing AI versions of our team.

We commandeered an edit suite to set up an interview space and capture some talking heads. Our control text: a local newspaper article, which provided the basis needed by the AI-platform to generate a copycat. Alongside, we captured a natural piece to camera to compare. In the interest of a fair test, we wanted to generate exactly the same piece using the AI-platform, with only some minor changes, so set up a direct comparison between the real Bruizerite and the AI version.

The answer is, probably, yes. Although undoubtedly lifelike, there’s a distinctly inhuman quality to our techy twin. Firstly, there’s an unnaturalness to the facial movements. In some cases, the movement is isolated to specific areas, such as the mouth and eyes – depending on the natural habits the AI has picked up on – but it largely feels irregular or exaggerated.

There’s also a leaning towards overly regulated rhythms of speech, which teeters on the robotic at points. Even for the original Bruizers who don’t boast a strong regional accent, the metronomic syllables of their AI are too uniform for even a well-spoken voice.

Admittedly the gestures are uncanny in places and very convincing in how they mimic our idiosyncrasies. The occasional head tilt or nod generally has good alignment to where we’d naturally place them, introducing a question or ending a sentence.

But for all the accuracy, the overall AI character is disinterested, disengaged. We hope it doesn’t sound too big-headed, but there’s no question the real Bruizers are far more enthusiastic than our AI counterparts who, it appears, would really rather be somewhere else.

Our weekday cloning session was only ever intended as controlled experiment, but it can’t help but pose a larger question: what are the real-world implications of this technology for the filmmaking industry?

It’s possible we’re at the beginning of a talking head revolution. A company’s CEO could cut down their interview time, needing only three minutes of content for a ten-minute end of year message. Perhaps we can say goodbye to the laborious process of multiple takes, trying to perfect the delivery of a lengthy script.

If it’s not generation, the same AI-platform we used to produce the fake Bruizers also has the ability to transpose into different languages. Multi-national companies could have the opportunity to improve accessibility and communicate direct to their employees across the world in their native language. Although therein lies another fault, that the level of fluency and pronunciation achieved by AI is unrealistically perfect for non-native speakers.

On the other hand, even native speakers make mistakes so a more subtle application of the technology might be the ability to correct grammatical slips or mispronunciations in post-production, rather than needing to organise a reshoot.

And it’s not all hypothetical: an example of an already established AI application is eyeline correction on facetime calls. Where online communication is considered cold and disconnected, these small changes are already creeping in as an effort to make the experience more personal.

The question is, can it ever compare to real human contact? If our experiences of the COVID-19 pandemic taught us anything, it’s that we can coexist through the internet, learn via pre-recorded lectures and collaborate over video call. But do we want to?

Whatever the application, at the core of the technical debate is a deeper, existential one: how far do we distinguish AI from the real person behind it? Is an AI-being separate, or an extension of ourselves?

The inherent fear that surrounds AI as a concept is derived from such questions. The underlying cautionary tale of much science fiction plays into our fear that one day there will be an intelligent being that can outsmart, outmode and outlive us.

If you really want to challenge your philosophical thinking, consider the paperclip theory. To paraphrase Nick Bostrom’s famous thought-experiment, an AI is tasked with making paperclips. Having used up all obvious materials for crafting stationery, the AI pursues further resources and eventually burns through all the raw materials on earth. The AI then progresses to a new planet in search of more paperclip fodder, the ultimate result being that a menial task spells the destruction of the universe and us mere mortals within it

So, more than ever, it’ll be important to prove the realness of things and authenticate the messages we put out into the world. A company will be measured by how its brand is set apart from the figment of technology. As a result, we could see an increase in live broadcasts, to engage employees in real time, with undeniably real people. Or a move away from generic messaging in recruitment or corporate campaigns, driven instead by existing colleagues interacting with the workplace and emphasising action over spoken word.

It’s an old adage among creatives but true: ‘show, don’t tell.’ In a world made bland by AI-content, the talent of videographers will lay in capturing what can’t be imitated: the character and connection of real people, the organic ethos of a company, the energy of a brand. It’ll be more important that ever to partner with creative agencies who can develop bespoke styles and create content that doesn’t just tell you something’s true, but makes you feel it too.

When is a talking head not just a talking head? A bit of Bruizer lateral-thinking and the ‘bog-standard’ becomes more than that.

But what’s sometimes underestimated is that the mood and feel of a film can be massively impacted by how an interview is staged. Every company has its own character and ethos, just as every interviewee is individual, so why would you confine them to four-walls that could be any business, anywhere?

Get your interviewees out of the chair and in their natural habitat. How better to drive your recruitment campaign than with real employees doing their real jobs? By keeping your interviewee in their working environment, the viewer can really get a sense of what goes on in their working world and what makes them tick.

Not all of us are blessed to be naturally comfortable in front of the camera, but familiar surroundings can bring out a remarkably relaxed performance and capture people at their best. When we spoke to Water Field Technician, Steve, about his career in the utilities sector, he was busy at work. It’s undeniable that the rhythm and hands-on feel of this memorable film is characterised by the on-site hero interview.

We put the company’s directors in the hotseat to find out a bit more about them: their inspiration, their first job and their most recent fancy-dress outfit. A combination of zingy brand colours and the distinctive winged-back chair create a light-hearted atmosphere and perfectly sets them up for the inspiring and characterful responses that give us a peek at the real people behind the job title.

The truth is that there’s no replacement for the real thing. Get your interviewees out and about and capture them in an actual place. A real-world location can really bring home the relevance of your message by situating it in context. Set out your environmental strategy from a scenic landscape or engage your workforce with internal comms that tour company landmarks.

The truth is that there’s no replacement for the real thing. Get your interviewees out and about and capture them in an actual place. A real-world location can really bring home the relevance of your message by situating it in context. Set out your environmental strategy from a scenic landscape or engage your workforce with internal comms that tour company landmarks.

The cost of living and energy crisis are increasingly pertinent topics in the UK, so when British Gas Energy Trust commissioned a film with the funded organisations on the frontline, we knew it was the end users who would provide the emotive heart of this narrative. Stark backgrounds and tighter framing keeps all our focus on the interviewees, allowing them full expression of their emotive stories to create impactful narrative.  

We’ll always extol the virtues of an out-and-about setting, however we realise it’s not always possible to mobilise your interviewees. Security complications or limited availability might dictate the location, but that’s no reason to settle for a plain talking head. Make your message pop with animated elements, or text on screen to engage your audience and bring home your key pointers.

Working with AWE, manufacturers of the UK’s nuclear deterrent, we’re often faced with security limitations that need a bit of creative thinking. Capturing employee experiences, we diversified the ordinary background by pulling quotes from their responses, highlighting core messages and catchy soundbites with a memorable freeze-frame style.

We’re always here to chat through ideas. For a style that’s tailor-made to your purpose, get in touch today.

We stand by the fact that teamwork makes the dreamwork; that’s why our wonderful internal team means so much to us, and to our clients.

We’re not like other production companies. No, seriously. We’ve spent our 20+ years in the business investing in our kit and full-time staff, and as a result Bruizer can boast that rarest commodity: a completely in-house team.

Other companies might operate as ‘shell agencies’, meaning they keep a core of creatives (such as producers or marketing advisors), but the overall production process will be made up of many disparate elements. Reliant on external hire, they might have to man a shoot with freelance crew and rented kit, lease independent directors, engage an external editor, or all the above, to plug the gaps in a project.

What makes Bruizer different is that we can host fully self-sufficient shoots without outsourcing. We keep an internal team of producers, crew and editors to cover all aspects of a project from creative to completion, meaning we can offer our clients a smooth and enjoyable experience.

Reactivity.

Beyond the schedule, it’s also about reactivity in the moment. When things don’t run smoothly, sometimes it’s down to pure ingenuity. Because we keep all our own kit, we know it inside out and can engineer solutions for any issues thrown up in production or even on the day. Whether it’s mounting the camera to a garden tool for an ad hoc ‘POV’ shot or packing a live broadcast set into eight suitcases, our consummate kit know-how can take us anywhere.

Efficiency.

Time is money, and we don’t just offer our clients best value in terms of time-efficient turnaround. Owning all our kit – and so bypassing rental charges – means we can be cost-efficient too. Cameras, lighting, sound and grip: we’ve got everything needed to support a one-man ‘run-and-gun’ right up to sprawling location sets or global live broadcasts.

Continuity.

Bruizer is an expanding team, but we’re small enough that you’ll always be greeted by friendly faces. Our united approach sees a project channelled through our production department, who assign a dedicated editor and select the crew best-suited for the brief. Throughout a project you’ll keep the same points of contact, so you’ll always be working with people you know and who know your project.

Familiarity.

When it comes to crew, we aim to keep the same names across multiple filming days, so you can enjoy a comfortable shoot with people you know.

We know the energy of those behind the camera brings the best out of people in front of it and goes a long way towards capturing the real moments, whether it’s the emotion behind a charity case study or the enthusiasm of an apprenticeship programme. Not to mention a bit of banter to power through those longer filming days.

Dedication.

But most important – we think – is that every individual who makes up our in-house team is a passionate expert in their field. Working with us, our clients don’t just get any old team plucked at random, but those that live and breathe film and animation.

We care about the work we put out into the world, and care about our clients getting the best from that content. Getting to know our clients means we also get to know their brands – their guidelines, company ethos, likes and dislikes – inside out. And over repeat projects with our clients, we’ve crafted consistently poignant and characterful content that has helped shape their brand identities. We’re with you on that journey, start to finish and we genuinely care about the end result.

As creatives (and comedians!), we’ve got such a great working atmosphere that – like our clients – people just don’t want to leave. 25% of Bruizerites have been with the business for 20+ years, 50% have been with the business over ten years and 70% for more than 5 years. That’s a lot of years under our belt!

At Bruizer, our ‘in-house’ is a powerhouse. At the heart of who we are and how we work, the experience for our clients is unique because of it. We collectively follow a project, meaning we’re invested at every stage for the best-possible final result. Check out ‘work’ our website and see for yourself.   

Fancy working with us? Get in touch today.

We’ll tell you that Bruizer always goes the extra mile and that’s the truth. Now we can quantify it…

We’ve just celebrated a milestone birthday (whoop whoop!), surpassing two decades in the industry. So, in honour of hitting the big two-zero, we thought we’d have a look at some of the other numbers Bruizer has smashed over the years…

Still one of our most watched videos, we worked with EMC to engineer and film a Guinness World Record attempt for a lorry jumping an F1 car. The nail-biting edit has had over 12 million views on YouTube and smashed numbers of its own, with the truck leaping 83 feet and 7 inches.

Our most recent live show was broadcast from Tokyo to an audience of 7162 AVEVA employees around the world. The culmination of over 320 production hours, including rig days, rehearsals and extensive pre-production planning, the show featured a studio audience and collated a separate live feed from the US, bringing the company together across 17 time zones.

As the crow flies, the furthest we’ve ventured from Bruizer HQ stands at 6765 miles, landing in Singapore to film a commercial for Panadol in 2018. Tokyo comes in second, at 5871 miles, and San Francisco close behind at 5366 miles, crossing 3 continents to be there for our clients wherever they need us.

When our unsuspecting head of post-production took a day off, it’s safe to say he never thought his office would undergo a full renovation in 24 hours. We estimate it took about 2080 post-it notes to lovingly decorate his office from top to bottom. It’s taken far more than 24 hours to reuse and recycle them, but at least we always know where to go if we need to note something down!

Filming for Q Mobile in 2016, we needed a location as glamorous as the commercial’s Pakistani star, Maya Ali. We had exclusive access to Blenheim Palace for 630 minutes to film everything we needed, both inside and out. The commercial was screened on TV just one week later.

By plane, ferry and trusty Bruizer van, we traversed the length and breadth of the UK (literally) to capture the stories of The National Lottery 2023 award winners, racking up 87 travel hours. That year, the furthest poles were 565 miles apart, from the Sport Award in Brighton to the Environment Award in Argyll and Bute, Scotland.

Our largest corporate shoot in 2019 totalled a 35-strong crew. Based on-location in London, we broadcast ‘Cannon Street Live’ and welcomed AVEVA employees from around the world to the flagship office. The team behind-the-scenes included ten in-house crew and 25 external crew, not to mention the additional make-up artist, client VIPs and presenters on set. That’s a lot of faces to feed, and speaking of food…

As part of the big BUUK rebrand in 2023, we embarked on a campaign of epic proportions and created 30 films under one project umbrella, all in less than a year. In conjunction with their new website build, the collection of films encompassed the company ethos from every angle, including culture, brand and ‘day in the life’ films.

Across all corners of the county, we filmed at 14 outstandingly beautiful locations to spotlight Suffolk footpaths. Working with the County Council on their Discovering Suffolk campaign, our crew visited coast, town and woodland to capture the stunning diversity of local landscape. The five days of filming informed three main narrative edits, and a selection of social cut downs to focus on the varying areas and terrains.

When out and about, we like to eat local. And while shooting a garden product film on location in Walthamstow, we discovered a truly legendary lunch. 12 gyros, crinkle cut chips, pitta breads and plenty of taramasalata satisfied a very hungry crew!

During our Team GB fever, we also worked with Aviva to promote their sponsorship of UK athletics. We filmed 10 Olympic and Paralympic athletes for the inspirational ‘Paving the Way’ film.

In 2016, we were commissioned by Maldon Salt to create a heritage-rich brand film. It took us one day to capture the moody, cinematic content needed, and while we were doing that, Maldon were creating 1.9 tons of their annual salt production.

Perhaps not a big number on its own, but over the years the Bruizer archive has backed-up a grand total 1 petabyte of footage, which is equal to over 1024 terabytes. Or, in layman’s terms, about 204,800 hours of documentary, commercial, short film, how-to, animation, music video…

Here’s to the next 20 years with even more to shout about. We’re always looking for the next bigger, better project – think yours could beat the above?