Eight briefs, filmed across September, October and November in Verbier, ordered by delivery date. Reviewed with Alexandra on 24 August. The material carries the feed through to January and feeds the winter paid campaign at the same time.
Videographer, Les Elfes International
Pauline Ventura, PBV Agency
September to November 2026. Delivery dates are on every slide. Hugo organises his own days around them.
9:16 for everything. Shoot a 16:9 safe frame only where a brief says so. Landscape loses about a third of the mobile feed.
Every winter piece shows at least one non-ski beat: an excursion, an evening activity, or the language course. Parents assume a ski camp is only skiing.
Imperfect takes are better than clean ones. A wobbly first run beats a perfect carve.
One or two seconds of hook, then the title card where the film needs one: interview with, campus tour with. Not every film needs one. The wording is on each brief slide.
Burned into the file, not left to the platform.
Deliver every film twice, with the logo at the end and without it, so the same cut can run organic and paid.
Delivery dates are fixed. When to film is a suggestion: Hugo organises his own days around them.
Not a highlight reel of skiing. The feeling of a child arriving somewhere unfamiliar and leaving it as home. Arrival, then uncertainty, then a first small win, then belonging. Built from archive, so nothing needs to be filmed for it.
9:16, 25 to 35s. Music led, no voiceover. No on-screen text until the final card: Winter at Les Elfes / Verbier, Swiss Alps / Since 1987.
Posts Wednesday 30 September
None. The promo runs with no on-screen text until its closing brand card.
The winter archive is thinner than summer. iPhone footage is fine to use if it helps. If the archive cannot carry the arc, we change the approach rather than force it.
A parent booking wants to see where their child will actually sleep, eat and spend the evenings. In this video, Iggy walks them through the building, and the answer becomes something they can see rather than read. Filmed with the chalet empty, so it can be captured now.
A short welcome as Iggy opens the front door, then a five second preview of the chalet, then ten seconds maximum on each part of the building. Keep every room to one or two sentences.
Filmed 16:9, delivered as both a 16:9 cut for YouTube and a 9:16 cut for Reels. Frame with the vertical crop in mind so nothing important sits near the edges. Natural light, handheld. One master of 90 to 120s. Stills of every room, empty and wide.
Can start now, chalet empty
Les Elfes Verbier · Campus tour
One question each, one person, one location that means something. The interviewer voice is never audible: the subject absorbs the question into the answer. These die in the edit when they turn into general chats, so hold the silence after they answer and let the second sentence come.
Open on a short pull-out line from the answer, then the question appears on screen as a graphic, then the answer. One question per clip, and the answer stays under fifteen seconds.
9:16, 15s maximum per clip. Handheld or soft tripod, natural light, two takes minimum. Six standalone clips. French is fine where it is easier: we subtitle.
The rest from the November intro week
Meet the people behind Les Elfes, with the question underneath as a subtitle. A name and job title card appears when the person starts to speak.
What has changed since 1987, and what has not?
Available first. Alexandra to ask him.
How do you feed sixty children from twenty different countries?
The chef speaks French. Film in French and subtitle it.
Why do you come back every season?
November, during the intro week. They are away in October.
What actually happens if a child gets hurt?
Not hired yet. Wait for the season.
How do you decide what a nine-year-old does, and what a sixteen-year-old does?
Not hired yet. Wait for the season.
What happens here after the children go to bed?
To ask. He may not want to be on camera.
Not a corporate about-us. Alexandra answering the question a parent has but does not ask out loud: who are you people, and why should I hand you my child? Pauline writes a short script beforehand, Alexandra picks a spot she likes in the chalet and sits down.
Alexandra filmed in one place delivering the whole text. Cut b-roll of her at the office and around campus over it, then break the text with camp footage of children through the season so it never sits static on her face.
30 to 45s is enough, it does not need to be long. 16:9 master and 9:16 reframe, since this one also goes on the website. Camp footage cut over her voice where it helps.
Script from Pauline first
Interview with Alexandra, Les Elfes. Her name and CEO title appear on screen when she starts to speak.
We filmed this last year, so it is only worth doing again if it looks different. That means snow outside before the season starts. Locked off or very slow moves, ambient only, no music. Premium, still, a little melancholy. If the snow does not come early, we drop it rather than repeat ourselves.
A cinematic visit to a place rather than a walkthrough. Slow, patient, no presenter.
One 9:16 film of 15 to 30s. Raw footage delivered as well, so it can be used again during the season.
Only if it snows early. Decide in November
None. No on-screen text at all.
Two or three staff doing preparation work would lift this: someone making a bed, someone sorting the kitchen storage, someone tidying the play room, someone getting the ski room ready.
What do we need to bring is a top three parent question and it is currently answered in a paragraph of text. Show it instead, with Iggy explaining how the rental actually works. This is the one brief that is allowed to be purely informational.
One 9:16 film of 40s maximum. Clean stills on a neutral background where possible.
Once the room is set up for the season
Ski Camp · What does my child need to bring? Then Iggy name and job title on screen at the first line.
The room is full at the moment and may need tidying before it films well. Someone being fitted would lift it, and a monitor is fine if no camper is available.
The only content that proves we are in Verbier rather than near it. Gathered across the autumn rather than shot in a session: the village changing over, then the snow line dropping, then the season arriving. The reel we made with Verbier Tourisme performed well, so a second one in the same spirit is worth setting up. It can be a mash up of different cinematic views, or the same view day after day. iPhone is fine and it does not have to be Hugo who shoots it.
One 9:16 film of 15 to 20s. All the footage delivered as well, so it can be used again during the season. Cinematic, slow, patient. Same frame on different days is the goal.
Gathered across the autumn
None. No on-screen text at all.
The route a camper actually walks on a winter morning, in one take, with speed ramps between the stops. Iggy presents. It shows parents how the morning works and that the children have their own private bus up to the slopes. Has to wait until the lifts open.
9:16 gimbal or stabilised handheld, one continuous take with ramps. One master of 45 to 60s.
Once the lifts open
None.
The winter promo cut from archive, the campus tour with Iggy while the chalet is still empty, the first of the six staff questions with Fred, and Alexandra on camera.
The chalet before the children arrive, the equipment room once it is set up, Verbier turning, the slopes run with Iggy when the lifts open, and the remaining staff clips during the intro week.
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