Film & video production
Brand films, product pieces, testimonials and social cuts. Planned so a single production day yields a hero edit plus the short-form that keeps channels fed.
Film, photography and social content built as one production line — concept through delivery, at the volume channels actually demand.
The hard part of content is rarely a single shoot. It is volume: feeding several channels every week, at a standard that does not embarrass the brand, without burning out the two people responsible for it.
So we build it as a production line rather than a series of one-off projects. One shoot is planned to produce a hero piece and the twenty smaller cuts that come off it, because the economics only work when a day of filming feeds a month of posting.
And we start from what the piece is supposed to do. “Brand awareness” is not a brief. Something someone saves, sends to a colleague, or acts on — that is a brief.
One shoot should feed a month of posting. Otherwise the numbers never work.
Handled by one team, so nothing gets lost between the idea and the upload.
Brand films, product pieces, testimonials and social cuts. Planned so a single production day yields a hero edit plus the short-form that keeps channels fed.
Product, team and location work, art-directed to match how the images will actually be used — not just how they look in the gallery.
Short-form built for how each platform is really watched: silent, vertical, and earning attention in the first second or not at all.
Where it genuinely helps — variations, localisation, virtual presenters — used to extend a shoot rather than to replace the parts that need real people.
Brands that need a steady stream rather than one flagship film a year. If you want a single prestige piece and nothing after it, a specialist production house will likely serve you better than we will.
Almost never a lack of ideas. Nearly always a lack of a system for producing them.
“We post when someone remembers.”
No calendar, no bank of material, so output depends on whoever has a spare hour. The fix is not more discipline — it is shooting in a way that produces a queue instead of a single post.
“We spent a lot on one video and used it twice.”
A single expensive asset with no derivatives. The same production day could have yielded a hero cut plus twenty short pieces, if the shot list had been written with that in mind.
“Our photos do not match our site.”
Images art-directed for a gallery rather than for the crops, ratios and overlays they will actually live in. Composition has to leave room for how the image gets used.
Mostly about cost, volume and what is realistic.
It depends on the setup, but planning for reuse typically turns a single production day into a hero piece plus several weeks of short-form. That ratio is the whole reason to plan the shot list before booking anything.
It helps — audiences respond to actual people — but it is not required. Product, process, animation and voiceover all work. If nobody in the business wants to be on camera, that is a normal constraint to design around, not a problem to argue about.
Yes, and it is worth checking first. Most businesses have more usable material than they think, sitting unedited. Sometimes the cheapest next piece is already on a hard drive.
Useful for variations, localisation and filling gaps — genuinely not a replacement for the parts that need real people and real places. We use it where it extends a shoot, and we will always tell you which is which.
Tell us which channels you are feeding and how often. We will tell you what is realistic.
Get in touch