Company type / B2G
On a public contract, delivering is not enough. You have to show what was done, what each line item cost and that the piece is accessible. Play leaves that record on its own.
LITE plan free forever. Files on EU servers and a signed DPA.
Updated: September 2026
This page is for anyone producing video for public bodies, whether from inside an organisation or as an awarded supplier. Content here carries two demands that do not appear in other models: every euro has to be justifiable, and accessibility and the tender's deadlines have to be met. Play has two pieces that work separately or together: Play Platform, where the budget, the spend and the sign-offs stay documented inside the project; and PLAY /Services, the team that produces on a transparent rate card. You can start free with the platform alone.
It is not the production. It is everything that has to be evidenced around the production, and that almost never gets planned.
The tender asks for a breakdown by line item and the project ran on separate invoices from several suppliers. Reconstructing what was spent on what, months later, costs days of work nobody budgeted for.
Budget, charged spend and purchase orders inside the project from day one.
A sign-off round dragging two weeks on a commercial campaign is an annoyance; on a public contract it can be a breach. And the sign-offs here are several, and in writing.
Approvals on the piece itself, by version and dated, with no parallel email rounds.
Subtitles, audio description, contrast and sign language appear in the tender and get solved at the last minute, once the edit is locked and everything costs twice as much.
Accessibility requirements go into the brief, not into the delivery.
One delivery for the portal, another for social, another for the archive, each with its own encoding and naming. The deliverables list is as long as the project itself.
Variants planned from the brief and delivered from a single library.
Play is a Production-Tech company: software and a production team in the same house. Here what weighs most is that the traceability comes as standard rather than having to be rebuilt.
You produce with your team or your awarded suppliers, and use Play so the spend and the sign-offs stay documented from the start.
Free on the LITE plan
See Play PlatformYou commission the production on a transparent rate card based on real costs, which is exactly what a file needs in order to justify itself.
Per project, on a transparent rate card
See PLAY /ServicesThe platform is the system the file lives in and our team produces inside it, with one point of contact for the whole contract.
Platform included, production per project
Talk to the teamThe three ways are doors into the same place, and you can move between them without migrating anything. Most teams start at way 1 or way 2 and end up at way 3 once the content volume grows.
The formats that appear most in tenders, and how each one gets made.
| Format | What it is commissioned for | How PLAY /Services makes it |
|---|---|---|
| Institutional campaign | Informing or raising awareness about a measure or a service. | End-to-end production with creative direction and versions per channel. |
| Public information | Explaining a procedure, a grant or a right in plain language. | A script reviewable in blocks, and motion for what cannot be filmed. |
| Annual report and accountability | Giving the year's results a life beyond the printed report. | Motion with the data on screen and an institutional voice, in several languages. |
| Coverage of events and sessions | Documenting public events and distributing them through owned channels. | A local crew, upload to the workspace and cutdowns piece by piece. |
| Training for public staff | Getting a new procedure to every office in the same form. | Filmed in reusable modules, updatable as the rules change. |
| European projects | Meeting the communication obligations of a funded programme. | Multi-country production with local talent and deliverables per partner. |
This is what genuinely matters when the client is a public body.
Budget, committed spend, expenses and purchase orders inside the project, with invoices and receipts digitised. The breakdown by line item comes from what was actually spent.
Every comment anchored to its version and its second, with author and date. The traceability a file needs is already built by the time you finish.
Stages, owners and delivery queues in a shared view, to see in advance whether a sign-off is going to eat the date.
Who sees what inside the workspace, with expiring review links and an activity log.
Files on EU servers, encrypted in transit and at rest, with regular backups and a signed DPA.
Every version and delivery format in one place, tagged, so a request can be answered without searching through drives.
A fixed quote based on real costs, with the breakdown a file needs in order to justify itself.
Subtitles, audio description and accessible versions planned before shooting, not solved at the last minute.
Local talent in more than 20 countries, useful on European projects with partners and deliverables per country.
One point of contact for the whole contract, which is what a procurement body expects to find.
The flow is the same whether you produce or we do. The only thing that changes is who carries out step 3.
You open the project and describe the need. KAMI AI helps turn it into a structured brief, with formats, markets and dates, so that everyone is working from the same thing.
This is where you pick a way: your team produces it, your agency does, or PLAY /Services does with local talent. If you commission it from us, you get a fixed quote on a transparent rate card before anything starts.
Shoot, edit and versions in the same project. Approvals happen through videofeedback and public links, with no email chains. If PLAY produces, your Account Manager oversees every stage.
The finished piece and the raw footage stay in your library, tagged and ready to reuse on the next campaign.
Recurring shoots across multiple European markets under one coordination system: Barcelona, Rotterdam, Manchester, Oslo, Warsaw, Dublin, Madrid, Istanbul, Lyon and Stockholm, among others.
A centralised system for creating content quickly and consistently across multiple formats, channels and locations in Spain, with a single point of contact adapting each message to its audience and platform.
The full case studies, with the detail of each production, are on the services page. Download the full case studies.
There are two costs and they are independent. The platform is paid per workspace, not per person. Production is quoted per project on a transparent rate card.
0 €
149 €/month /workspace
Custom
Access to Play Platform is included at no cost with every PLAY video production service. In other words: you can come in through the platform door and pay only for the software, or come in through the production door and take the software with it.
Annual billing works out at 10 months. Extra storage at 29 €/TB per month. For work with public bodies, PRO is the plan that brings what is needed: cost control and analytics are exactly what turn justifying the spend into a report that is already written, rather than days of work when the file closes. See the full plan comparison.
The budget, the committed spend, the expenses and the purchase orders are charged inside the project, with invoices and receipts digitised. The breakdown by line item comes from what was actually spent, so there is nothing to reconstruct by hand when the file closes.
Yes. Every comment is anchored to a version and a specific second, with author and date. It is the traceability a file needs, built during the project rather than afterwards.
Accessibility requirements go into the brief, before shooting: subtitles, audio description and accessible versions are planned alongside the other deliverables rather than solved once the edit is locked.
On EU servers, encrypted in transit with TLS 1.2 or higher and at rest with AES-256, with role-based permissions, expiring review links, an activity log, regular backups and a signed DPA.
Production is quoted on a transparent rate card based on real costs, so the breakdown is the one a procurement body expects to see, and the figure is known before starting.
Yes. PLAY /Services activates local crews in more than 20 countries, with deliverables per country and a single Account Manager as the point of contact, which is what a funded programme's communication obligations usually require.
Yes. The LITE plan is free and works with your in-house team or with your awarded suppliers, who join as external collaborators without taking a licence.
Open a free LITE workspace and take one whole file through from the beginning, with its budget and its sign-offs. The difference shows when you come to justify it, which is always when the pressure is on.
Budgets, costs, expenses and purchase orders per project
The other sector where the sign-off weighs more than the shoot
The sign-off circuit seen from whoever has to sign it
The three ways of working with Play, depending on how much you want to delegate
Get started
Open your workspace free and take one whole file through it, with its budget and its sign-offs. Justifying stops being a separate job at the end.
No card required. Unlimited external collaborators on the free plan, and the platform included with every production service.