Restoration ads shot on your jobs, not from a stock library.

You do not have to, and plenty of good work uses crew members or voiceover instead. That said, it is the single strongest lever we have: owner-on-camera video reports 25-40% lower cost per lead for contractors, because homeowners are choosing a person to let into their house. We keep it painless — short prompts, several takes, filmed on a job you were doing anyway.

Consent comes first and in writing, before anything is filmed. We give your crews a simple release form and a short script for asking, we avoid identifying details like house numbers and personal belongings unless the homeowner is happy, and any clip can be pulled from circulation on request. Most homeowners agree readily when the work is being done well.

Not if the routine is designed properly, which is our job rather than yours. The standard capture list is a handful of short clips a technician can take while equipment runs, plus a before-and-after photo pair. No lighting, no second visit, no waiting around. If a job is chaotic, the rule is simple: skip it and film the next one.

The unimpressive ones often perform best. A moisture meter reading, a carpet lifted, a technician explaining why a wall has to come out — that is what a worried homeowner wants to understand, and it is far more convincing than a dramatic flood shot they have seen a hundred times. We build the plan around what your crews genuinely do most weeks.

Enough to keep a test running without exhausting your budget: typically a batch every few weeks, drawn from an ongoing capture library rather than a one-off shoot. Volume matters because most ads lose, and a routine that produces steadily beats an expensive production once a year. We agree the cadence up front against what you are spending on media.

Tracked numbers, tagged links and a monthly reconciliation with your office, reported by angle rather than by file name so the learning survives the campaign. We are also honest about limits: some influence is indirect, so we watch branded search and direct enquiries alongside platform reporting instead of claiming every job that arrives.

Yes, and it is one of the highest-return things we do. Storm demand arrives overnight and the firms that win are the ones already live, not the ones briefing an editor. We prepare seasonal sets in advance, keep versions for different loss types ready to launch, and update wording to match what your crews can genuinely reach that week.

A fixed monthly fee scoped to the volume of assets and the testing cadence, with the quarterly professional session quoted separately so you can decide on it independently. Media is paid directly by you. If your spend is too small for a meaningful testing routine we will say so and suggest starting with a single strong set instead.

Yes, and they should be built together. A hook that promises a two-hour response has to land on a page that repeats it, or the click is wasted. Our landing page and copywriting specialists work from the same angle map, so the message stays intact from the feed to the phone call.

It should be. The same library feeds your website, your recruitment posts, your Google Business Profile and the emails your office sends adjusters. Recruitment in particular benefits, because technicians want to see the work and the equipment before they apply. Everything is handed over organised, so you can use it long after any engagement with us ends.

Start where the demand and the margin overlap. Water damage and flood cleanup carry the volume, fire and smoke damage repair carry the value, and mold remediation and sewage removal attract the most anxious questions, which makes them ideal for explainer creative. Commercial and property recovery gets its own set, because a facility manager is buying capability rather than an emergency response. Most restoration companies end up with one asset set per damage type, refreshed as the industry season changes.

Creative is the part of restoration marketing that travels furthest. The same footage supports your digital advertising, your website, your SEO content and the pages targeting your priority keywords, so a single capture session shows up across the whole marketing programme. We map each angle to the strategy already agreed for the market you serve, so nothing is produced for its own sake and nothing is commissioned twice.

Yes, because they buy differently. A residential homeowner wants to know how quickly a clean, respectful crew can arrive and what the insurance process looks like. A commercial property or facilities buyer wants proof of capacity, certifications, documentation and how you keep a building trading during a disaster recovery job. Same library of footage, two different guides to what gets shown and said.

Week one, we review last month's numbers by angle and pick what to retire. Week two, your crews capture on live damage repair jobs — a water extraction, a smoke damage clean, a sewage removal, whatever the schedule brings. Week three we cut and caption, and week four the new batch launches against the control. Every quarter we step back and refresh the strategy for the local market: which services need more emergency demand, which need commercial property enquiries, and which keywords the digital team wants supported with video.

It does, and restoration companies underuse this. Short clips posted to your Google Business Profile, jobsite photos attached to service pages, and video embedded on the damage restoration pages your SEO team is trying to rank all read as genuine local proof. The industry guide most agencies follow stops at the ad account; we would rather one capture day feed the ads, the website and the profile in the same week.

Yes, and the results are usually better when creative and buying sit together. Our paid social, paid search and analytics specialists work from the same plan, so a winning angle gets budget the same week it proves itself. Hiring us for creative alone is equally fine.