You have the editors. What you don't have is a presenter who shows up, takes direction and sounds human on the first pass. Send the script. Get edit-ready 4K footage back in 24 to 48 hours.
Trusted by teams at
The math on in-house on-camera work is worse than it looks. A production lead put it plainly: "If I don't have to coordinate the actual filming, lighting, all that stuff, even though that's all we do all day long, it still costs us money. It's something that we can outsource for sure."
It is rarely the shoot itself. It is the casting, the scheduling, the no-shows, and the reshoot when the talent sounds like they are reading.
This removes that whole block from your process. Your brief, your script, your background choice. Footage back in 24 to 48 hours, ready for your editor.
Three ways to work with us: white-label, referral, or hand-in-hand, where we serve your client together and you keep the relationship. Your choice, never pushed.
You keep the client relationship. One contract, one invoice, your name on the work. We never appear in the chain and never contact your client.
Rather not carry the margin or the project? Introduce the client and we run the video. Referral terms are agreed before the first intro.
Footage is licensed for the specific project and the videos it was made for. Shorts and snippets from the same campaign are fine.
The failure mode with hired talent isn't availability. It's delivery. Your client hears it immediately: "You can feel that they are talking to a script. They're reading a script." That is the reshoot nobody budgeted for.
20+ years on camera, 1,000+ videos for 250+ B2B brands. I learn the product before the shoot, so technical scripts hold up with a technical audience. And I take direction without ego on the second and third pass.
My own studio: professional lighting, sound, teleprompter, custom backgrounds or green screen. No location scout, no coordination on your side, no half day out of anyone's calendar.
Every figure below is taken from the client's own case study page.
Eleven explainers across nine separate contracts, filmed to their script and guidelines, files back in one to three days.
A marketing agency with its own editors. One full-length VSL and three ad variations, footage in their editors' hands within 24 hours of each shoot.
"The raw footage that we got off of Eric was perfect. It was just what we were looking for."
Sean Flynn, EyeFly Digital
An internal academy: their scripts, their edit, one presenter on green screen for three years. Eight repeat contracts from the same hiring manager.
Script, background preference, framing notes, any wardrobe direction from your client. Every script gets a free review before we film.
Some clients want background, framing and wardrobe signed off before recording. Send the reference, I match it.
I record in my studio, with my kit. Nothing on your calendar, nobody to coordinate.
Edit-ready 4K files to your editor, in the format you asked for. One revision included: a re-record or an insert.
Recording is the fast part. Own studio, no location coordination, no crew to book. That is why 24 to 48 hours is a standing commitment, not a rush option.
For partners running continuous work, slots can be reserved ahead, so a client deadline never depends on my calendar. For overflow, or a look I'm wrong for, there is a small roster of presenters I trust. You are not waiting on a casting call either way.
If a project needs a different age, gender, accent or energy than mine, I will cast and direct that person for you rather than hand you back a no.
Usually Eric. VideoRep is built around him as the lead spokesperson. If your category, style or schedule calls for a different face, Eric casts from a small roster of presenters he trusts. Either way, you meet and approve your spokesperson before you sign, and the face is named in the agreement.
No. On white-label work you own the relationship and we never contact your client. Prefer a straight introduction? That is the referral route, with terms agreed up front. Or work hand-in-hand: we serve your client together and you keep the relationship. Your choice, never pushed.
Footage is licensed for the specific project and the videos it was made for. Repurposing into shorts and snippets from the same campaign is fine. TV, film and radio need a separate license. No AI duplication of my likeness or voice, no voice manipulation, and the footage is never used to train a model on my likeness.
24 to 48 hours from an approved script for standard work. Buildium had raw files back in one to three days across nine separate contracts.
One revision is included, either a re-record or an insert. Flag it and it comes back inside the same window.
Yes. Send a reference and I match background, framing and wardrobe. Some clients pre-approve all three before recording, which is a normal part of the process rather than a special request.
Then I cast for it. Different age, gender, accent or energy, I find that person and direct them to the same standard. You get the casting judgment without running the search.
Not on raw footage. This lane is your script and your edit, and every script still gets a free review before we film. Full production, from script to final cut, is our end-to-end work.
Tell me what you are producing and when it is due. If I am not the right face for it, I will say so and cast for it instead.