Levron Films, Central Florida
Your loan book is full of documentaries nobody has made.
Short films about the businesses you finance. One a month, each shot in a single day, and cut so a commercial banker can actually send one.
A bank is already doing this
SouthState keeps a playlist called Customer Testimonials. There are fourteen films in it.
Byrd's Famous Cookies in Savannah. A supply company doing business the right way since 1965. A machine shop. An orthodontist. A logistics firm. Not ads. Small documentaries about businesses they finance, with the bank in the background rather than on top of it.
Their view counts run in the hundreds. That is not where these work, and it is worth saying out loud before anyone asks.
Before you forward that playlist to your agency
It is the obvious next thought and it is worth answering. SouthState runs a sixty five billion dollar balance sheet and an in house team. Here is what happens when a bank your size asks an agency for the same thing.
One film is a project. Twelve is a budget nobody signs
An agency is glad to take a single flagship film and will do it well. Ask for one a month at agency day rates and the quote comes back at a number that ends the conversation. The series is the whole point, and the series is exactly what the agency model cannot price.
The crew is the problem, not the fee
Six people and a lighting truck on your best customer's floor is the thing that makes the second customer say no. You do not get to make twelve of these if the first one was an imposition. Footprint is not a cost saving here, it is the mechanism.
How banks run this
It is a program, not a project. That is the part most banks get wrong, and it is why the idea usually dies after one film.
One business a month
A rolling program across your commercial book. One shoot day a month, one story at a time, and a library that is worth something by year end. This is how the banks that do this well actually do it, and it is the only way the cost per film comes down.
One film first
A single customer, one shoot day, delivered as a long cut, a lender cut and verticals. Most banks start here, because it answers the only question that matters first, which is whether your customer was glad they said yes.
Pricing depends on travel and how many cuts you need. It is a short conversation, not a proposal deck.
What you get from one shoot day
Several cuts that get used, rather than one long film that sits in a folder. The bank appears inside the story, not on top of it.
The customer story
Two to four minutes about a business you bank. The owner talks, the work is shown, and the bank is present where it belongs, in the middle of a real story rather than as a logo overlay.
The lender cut
A sixty second version built to be sent, not broadcast. Short enough that a relationship manager can text it before a first meeting without apologizing for the length.
Vertical cuts
Same day, recut for LinkedIn and paid social. One shoot produces a month of usable posts instead of a single asset with one use.
What the lender cut actually looks like in use
The long film is for your website. This is the one that does the work, and it does it from a phone, the night before a meeting.
Illustration, not a real conversation.
It has to survive being a link in a thread
That is a real constraint and it changes the edit. The first four seconds carry the whole thing, the subject is named on screen inside eight, and it plays with the sound off because half of them will.
The banker sends it, not marketing
Which means it has to be short enough to send without apologising for the length, and about the customer rather than about the bank, or nobody sends it twice.
Why now
Anyone can produce a polished film now without leaving the office. Nobody can produce the owner of a business you actually finance, standing in it, saying something only they would say.
The work, and why it maps to your commercial book
Most of what we shoot is the kind of company sitting on a commercial loan book. Manufacturers, family operations, growers, businesses with a floor and a shift and no patience for a film crew.
Living at Colina Noua
A resident tells the story of the place he lives in. Same shape as a customer story, different subject.
Tenaris, WEBOMATIC, Megatitan, Romer Labs and Biomin as well, in English and in localized versions.
What clients say, and why it matters to a bank
These quotes come from manufacturers and technical companies, not from banks. That is the point. They describe the exact conditions your commercial customers care about, and the exact way a relationship manager would use the finished film.
How the films actually get used
Our production halls are large and hard to show to a customer who has never visited. The film walks through the process in a way people actually follow, and our sales team opens meetings with it.Beniamin, OPTIMEDIA
Professional on a working floor. Safety briefing done, shots planned in advance, no disruption to the shift. The final edit needed one round of notes and was ready to use.Andrei, TENARIS
One cinematographer with full production quality. The film for our vehicle line looked like the work of a large agency, with none of the overhead and none of the back and forth.Mircea, TRUSTON
Start with the First Three
Before anyone signs anything, we will put together one page naming the three customers of yours we would film first, and what each film would be about. Drawn from your own case studies, your commercial page and your press releases.
It is free and nothing is owed. If you never call again, the page is still yours to hand to whoever eventually does the work.
Questions banks actually ask
What does this cost our customer?
A few hours and a place to put a camera. No script to learn, no wardrobe notes, no closed floor.
What about compliance?
Your customer speaks for themselves about their own business. We do not write claims about rates, products or terms into their mouths, which keeps the review short. Your team approves the cut before anything is published.
Will our lenders actually use it?
That is what the sixty second cut is for. If the only deliverable is a long film, it sits in a folder. The short version is built to be texted.
We already have an agency.
Good. This sits under the campaign work rather than against it. Agencies make the spots. This is the documentary layer they rarely staff for.
Do you work with our competitors?
Ask on the call. Market exclusivity inside a defined footprint is reasonable, and we will tell you plainly what is already committed.
How far do you travel, and who is this not for?
Central Florida, and we drive. The Southeast is a normal trip. It is a fit for regional and community banks that still lend on relationships. It is not a fit if you have an in house production team, if the growth story is retail deposits rather than commercial lending, or if procurement needs a vendor with a crew of twelve.
What does it cost?
A monthly series across a year costs less than a single agency flagship film, and the cost per story falls every month it runs. If the annual number is under fifty thousand, say so on the first call and we will scope to one film rather than sell you a programme you cannot sustain.
Where are your bank results?
There are none yet, and inventing them would be the fastest way to lose the account. From the first film we track three things agreed before the shoot: how many lenders sent the cut, meeting acceptance on outreach that included it, and completion rate on the sixty second version. If your lenders are not sending it after ninety days, the cut gets rebuilt once at no charge.
Who you are dealing with
Tim Jinar owns Levron Films. He directs, shoots and finishes the work himself, with a small team when a job needs one. There is no account layer between you and the person holding the camera, and no junior gets handed your customer.