Nick Heymann
I produce brand films, aftermovies and reels for people who have a story to tell. Cinematic, emotional, to the point. For social media, websites and campaigns.
Every video project starts with a conversation. I want to understand what you're trying to achieve, who's watching, and where the film ends up living. Only then do I talk about camera, format, or shoot days. Most problems in video production don't happen on set, they happen before: unclear goal, unclear audience, unclear channel.
I work with coaches, musicians, dancers, retreat organizers, and mid-sized companies from Hamburg and across Europe. Different worlds, same logic: a film that shows the core without hiding behind effects.
Your company, your story. Distilled into 60 to 180 seconds. For the homepage, investor pitches, or recruiting. With real faces from the team, not stock footage.
Events, retreats and workshops as emotional films that move participants and attract new ones. 90 to 180 seconds for social media, longer versions for the website or your next sales deck.
Short videos for Instagram, TikTok and LinkedIn. Built to hook in the first 2 seconds. Plannable as a series: several reels from one shoot day, so you can post consistently for four weeks.
Special moments captured. The way they actually felt. Documentary, no staged posing. Getting ready, ceremony, first dance, all as a connected film.
Short teasers for launches, product drops, or campaigns. 15 to 30 seconds, built for maximum reach in the first days after upload.
Customer and employee interviews in high audio and picture quality. Two cameras, external mics, clean lighting. Not a webcam look, documentary level.
For Hamburg artists and international acts. Concept, storyboard, shoot, post. My roots, before I shifted into brand work.
Choreography on film. I come from that world and know how to capture movement without disrupting it.
Not every project fits me, and that's fine. If you want a classic 2010s-era corporate spot with stock images, a drone shot over the office building, and a voiceover from a sound booth, book an agency. I work differently.
We match if you recognize yourself in one of these three profiles:
You are building a brand around yourself and need video that actually shows you. Not staged LinkedIn poses, but material that conveys how you work and why people listen. Usually that means: a brand film for the website, a handful of reels for Instagram, plus testimonial cuts from your participants.
You have an aesthetic you don't want watered down. You need someone who understands your work before unpacking the camera. I come from music video and performance film, that's my native language. I know when to let you work and when to step in.
You have an event or product that deserves more than phone footage. You want a film you can use for two years, not two weeks. So no quick-and-dirty, a real plan: what should the film do, where does it run, who should it reach, and how do we measure whether it works.
The process is deliberately short. No meeting marathons, no five-round approval loops. What I need I ask once and cleanly, then I go to work.
We talk about your project, your goals, your budget, and the timeline. I ask a lot of questions: who is the audience? Where does the film run? What should happen after? By the end we both know if we keep going.
I send you a transparent quote with clear scope, shoot days, deliverables, and delivery dates. Plus a moodboard or short concept sketch. No hidden costs, no surprises later.
Location scouting, shot list, shoot schedule, voiceover casting if needed, music pre-selection. You get a shoot plan that makes it clear what happens when and where. If we film interviews, I send questions ahead so your people aren't cold in front of the camera.
On location or remote. I bring all equipment, including audio, lighting, drone if needed. For larger shoots or multi-cam setups I bring a seasoned team I've worked with for years.
Review, rough cut, fine cut, color grading in DaVinci Resolve, sound design, music licensing. You get a rough cut to review, one feedback round, then I finalize.
4K master plus all web versions. Social cuts in 16:9, 9:16, and 1:1. Cloud download with a clean folder structure. On request including subtitles (DE/EN), thumbnails, and cutdown sequences for the following weeks.
Corporate
Event
Reel
From Hamburg to New York to Australia. I've produced for coaches, musicians, dancers and businesses. Most clients come through referrals.
Wow Nick. Incredibly genius what you created. Sitting here with tears in my eyes because you captured so many things so sensitively, so close and touchable.
Philipp
SH Fest
Wow, I'm so impressed! This film, those precise and beautifully captured moments. It touches me so deeply.
Dorian
Retreat Participant
Honest answer: it depends. A social media reel is a completely different project than a 3-minute brand film with drone shots and interviews. But I believe in being upfront about pricing, so here's a realistic guide.
Social media reels start around EUR 500. That covers a briefing, half a shoot day, editing, color grading, and music. Works on Instagram, TikTok, and LinkedIn.
Event videos and aftermovies typically fall between EUR 1,500 and 4,000, depending on event length, number of shoot days, and extras like drone footage or interviews.
Brand films and corporate videos start around EUR 3,000 for straightforward productions and go up from there for projects with multiple shoot days, locations, and extensive post-production.
What drives the price: number of shoot days, locations, drone or special equipment needs, post-production scope (color grading, sound design, motion graphics), and whether you want additional social media cuts. One cost factor clients rarely think about: music licensing. A commercial track on Musicbed can run between EUR 50 and 500, depending on reach. I plan for that from the start.
What lowers the price: if you want multiple formats from one shoot (brand film plus reels plus testimonials), the per-unit cost drops sharply because set-up, travel, and audio work spread across more deliverables. Two shoot days instead of one often produce four to five times the output.
Every project gets its own quote. An honest number based on what you actually need. Reach out, the first conversation is free.
Most videos don't miss the mark because of the camera or the edit. They miss it in two places: unclear intent and bad audio. Technology isn't a barrier anymore. Any phone now shoots acceptable 4K. What's usually missing is the thinking behind it.
A good video has a clear answer to three questions before the first shot: who should this reach? What should that person think or feel afterwards? And what action should follow? If those questions aren't answered, no amount of beautiful footage makes the film work. That's why I spend so much time on the initial call. Not because I cling to brainstorming, but because without that clarity the work later doubles in size.
On a craft level, three things matter more than anything else: light, sound, pacing. Light decides whether a frame reads as high-end or amateur. Sound decides whether viewers stay — studies on Instagram and TikTok retention show that bad audio is the most common reason people drop off, even before bad visuals. Pacing is the edit rhythm: too fast and the viewer fatigues, too slow and they're gone.
What I deliberately don't do: generic stock music, interchangeable drone intros, voiceovers without substance, effects for the sake of effects. All of those are reflexes that built up across a decade of video production, and now signal "this video follows a template." And a template is the opposite of what you want.
At an agency, you're paying for project managers, account managers, and overhead. With me, you pay for the person who actually holds the camera. Concept, shoot, edit, color grading: all me. That keeps costs honest and communication short. You write me, I write back. No ticket system, no alignment across three meetings.
My focus is coaches, artists, and creatives. I know this world because I'm part of it. I know how to film breathwork sessions without disrupting the energy. How to put a dancer in the best light. And how to tell a coach's story so it actually lands, without sliding into coaching clichés.
I've shot in over 8 countries. Retreats in Turkey, concerts in New York, corporate events in Hamburg. I'm flexible, travel-tested, and I deliver even under unusual conditions. The Turkey retreats were three weeks with little sleep, heat, and shifting locations. That taught me to stay calm under pressure and still get the shots that matter.
My workflow uses AI-assisted pre-selection for large shoots, color-calibrated grading, and 4K as standard. Cinematic films without agency prices. Gear stays compact on purpose — everything has to fit in two bags. That forces discipline and often delivers the better look.
One last point that gets underestimated: I stay reachable after the film. If you need an extra social cut three months later, or realize you want different music, we message briefly and I do it. With agencies that's usually a new order with a minimum volume. With me it's an afternoon of work.
I'm based in Hamburg and shoot most local projects here. The city has its own tone: understated, solid, no show. Hamburg brands communicate more quietly than Berlin ones, and that's reflected in the kinds of films that work well here.
Light is the second half of the story. North Sea light is soft and often grey, but has a clear quality when the clouds break. I've been shooting in this light for years and know when to wait for sun and when to work with the overcast. For brand films, that's often the better look: less hard contrast, more midtones, ages better than peak-summer gloss.
My preferred Hamburg locations: Speicherstadt for anything with brick and texture, HafenCity for modern brand shots with clean lines, Planten un Blomen for retreat and coaching films with a nature feel, the old halls in Altona and Bahrenfeld for performance and music videos, the harbor itself for anything that needs scale. If your location is outside the city I come to you. I regularly shoot in Schleswig-Holstein, Lower Saxony, and the rest of Germany.
Hamburg clients value that I'm reliable, start on time, and don't make myself bigger than the project. That's not an accident. In this city, profiles that claim more than they deliver get filtered out. I work accordingly.
Practically that means: short distances across town (I'm usually on location within 30 minutes), reliable Hamburg partners for audio, second camera, and motion graphics when a project needs more hands, and a network of locations I personally know. So if you're weighing a Berlin team with travel costs against a local solution, that's a concrete cost factor.
Social media reels start around EUR 500. Event videos and aftermovies typically fall between EUR 1,500 and 4,000. Brand films and corporate videos start around EUR 3,000. Every project gets its own transparent quote, the first conversation is free.
Social reels land within 7 to 14 days. Aftermovies take 3 to 6 weeks, brand films 4 to 8 weeks. If you have a hard launch date I plan backwards and keep the buffer clean.
Brand films and corporate videos, aftermovies for events and retreats, social media reels for Instagram, TikTok and LinkedIn, plus event videos and weddings. Plus trailers, interviews, music videos, and dance films. All produced cinematically in 4K.
Initial call, concept and quote, pre-production, shoot, post-production, delivery. You get a preview with one round of feedback before the film is finalized. The whole process is structured so you always know where we stand.
You pay for the person who actually holds the camera. Concept, shoot, editing, color grading all from one person. Keeps costs fair and communication short. Focus on coaches, artists, and creatives.
4K master plus web versions in 1080p. For social media you get 16:9, 9:16, and 1:1 cuts. Color space in Rec.709 for web or HDR for premium platforms on request. Delivered via cloud download with a clean folder structure.
Yes. I have shot in more than 8 countries: Turkey, Portugal, Spain, USA, Australia and more. Travel is billed transparently with no markup. For EU trips I typically need 10 to 14 days notice, overseas projects 3 to 4 weeks.
One feedback round on the rough cut is standard. That usually covers it, because we align cleanly upfront: moodboard, music, and structure are locked before the shoot. Additional rounds are possible and billed separately.
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