How a listing video from photos is actually made

A listing video from photos is a directed film built out of the stills your photographer already delivered. No crew returns to the property. The photographs move, in a chosen order, for 30 to 45 seconds, mastered in 4K and back with you typically within a few days, from €299.

That is the whole claim. The rest of this is how it is done, what it needs from you, and the specific things it will not do.

Can I get a listing video from photos I already own?

Yes, and the reason is less exotic than it sounds.

A good property photograph is already most of a shot. Somebody chose the corner to stand in, waited for the light, levelled the verticals and framed the room to flatter it. What the photograph lacks is time and sequence. A buyer looking at twelve stills on a portal assembles the house themselves, badly, in whatever order the grid happens to load.

A film takes that decision back. The camera enters where a buyer would enter, moves through the rooms in the order they connect, holds on a space long enough for it to be understood, and ends on the thing that genuinely sells the property. That ordering is the product. The movement is only how it is delivered.

So the raw material is not a limitation. It is a set of considered viewpoints that somebody has already paid for once.

What photographs do you need from me?

Less than most people expect, and more specific than most people send.

Resolution. Full-size files from the photographer, not the compressed versions the portal generated. A 3,000 pixel wide original has room to move inside; an 800 pixel portal export does not. If all you have is the portal export, say so at the start rather than after delivery.

Coverage of the route. One frame per room is enough to include the room. Two frames, taken from different ends, let the film establish where that room sits relative to the last one. Hallways and landings are the frames agents most often leave out and the ones that make a house feel like a house rather than a gallery.

The exterior, front and back. A film that never shows the outside leaves a buyer unsure what they are inside of.

Anything shot in bad light, included anyway. A dim north-facing bedroom is still information. It is better to grade it honestly than to leave the room out and have a buyer discover it at the viewing.

If you also hold drone stills, floor plans, or clips from a previous listing of the same property, send them. Real footage carries a higher provenance grade than an animated still and will be used in preference where it exists.

What happens between sending and delivery?

Day one is reading. Somebody goes through the images and the listing facts and decides the order. Which room opens the film. Whether the kitchen or the garden closes it. How long the camera holds on the fireplace that is clearly the reason this house is priced where it is. This is the part that separates a film from a slideshow, and it is done by a person, not a template.

Day two is the shots. Each still becomes a single continuous camera move at eye height, on one unchanging velocity. No bounce, no gait, no speed ramp. The camera behaves like a gimbal head flying through the room, because that is the only movement that reads as calm rather than as somebody holding a phone.

Day three is finishing. Grade, sound, the cut, the provenance record, and the master file. Then a person watches the whole thing, start to end, before it goes anywhere. No automated score approves a film here.

With the Collection and Private Client arrangements, revisions are included. Most revisions are about order, not about pixels: move the garden earlier, hold longer on the master bedroom, drop the utility room.

What will you refuse to do with my photographs?

This is the part worth reading twice, because it is where cheap video gets agents into trouble.

A room is never extended past the edge of its photograph. If the frame cuts off at the doorway, the film cuts off at the doorway. The alternative is cropping in to reframe, which loses a little width and invents nothing. Software that outpaints a wall is guessing at architecture, and a guess printed at 4K looks exactly as convincing as the truth.

No feature is ever added. Not a pool, not a hedge, not a sea view through a window that faces a car park, not a kitchen island, not furniture in an empty room. If the camera can see it, the property has it.

No fact is ever inferred from an image. Floor area, ceiling height, plot size, the year it was built, the distance to the station — those come from your written particulars or they do not appear. Nobody here estimates a room's square metres by looking at it.

Every shot carries a provenance grade, and the grade travels with the film. A is real footage. B is an animated real photograph, which is what most of these films are made of; cleaning, denoising and upscaling keep the grade at B, because it is still the same photograph, better resolved. C is a reconstruction built only from verified plans. D is fully synthetic, and D is declared on screen every time.

You can hand that record to a vendor, a portal or a regulator without editing it. That is its purpose.

What does it cost and what do I get?

One horizontal film is €299, and €599 adds the vertical cut for social. The Three Property Collection is €1,299 for three properties with revisions included.

Each includes the directed film at 30 to 45 seconds, the 16:9 master in 4K and the provenance record, typically delivered within a few days — with a named delivery date shown in your client portal once production begins. The film is yours to publish without platform restrictions: no licensing tail, no annual fee, and no clause that takes it back when the listing sells. Revisions are included with the Three Property Collection and the Private Client arrangement.

The finishing options are priced as finishing, not as second productions, because that is what they are:

• Vertical 9:16 cut — part of the €599 film and of the Collection and Private Client arrangements
• Revisions — included with the Collection and Private Client arrangements

When is this the wrong thing to buy?

Sometimes it is, and it is cheaper to hear that now.

When the property moves. A coastal view with weather in it, a garden in wind, a room where the light crosses the floor over an hour — those are the things a still cannot hold, and a still cannot be made to hold them honestly. Book a videographer.

When the photographs are genuinely poor. Bad framing does not improve by moving. If the images are dark, wonky and shot on a phone, the money is better spent on a photographer first, and then on a film afterwards for €299.

When the property is the campaign. A prime listing or a development launch with talent, twilight exteriors and multiple locations is a different product at a different price, and it should be.

For everything else, the honest position is this: you have already paid a professional to look at this house properly. The film is what happens when somebody decides the order in which a buyer meets what that professional saw.