Nobody shares an advert about pipes. They share the reveal.

Specificity and proof. A homeowner scrolling past does not react to the words fast, reliable and insured, but they stop for a camera going down a blocked drain or a slab leak found without the floor coming up. The numbers back it: video ads carry 30-60% lower cost per lead than static images in the contracting trades, and owner-on-camera video runs 25-40% cheaper again than produced video. We build the plan around the jobs you already do well.

It is the single cheapest performance advantage available to a plumbing business, so we encourage it, but it is not compulsory and we never make anyone perform. Plenty of strong creative is built entirely around the work itself: hands, tools, water, before and after. If you or a lead plumber are willing to say a few sentences about what you found and how you fixed it, that is usually the best ad of the shoot.

We plan filming around your dispatch board rather than the other way round, which matters in a trade where 70-80% of service calls are urgent. That usually means booking a shoot day against planned installation work and capturing emergency footage opportunistically on phones. Customer consent is agreed before anyone films inside a home, and if a job turns complicated the camera goes away.

More than most companies expect, which is why we shoot in batches. Audiences in a local service market see the same advert quickly, so a single expensive film fatigues within weeks while a library of fifteen cuts keeps a channel healthy for months. One well-planned shoot day typically produces enough vertical, square and still assets for a quarter of testing.

The ones with margin and capacity, not the ones with the loudest demand. Job values differ enormously: drain cleaning averages $265, pipe repair $425, toilet replacement $380 and a sewer line repair $3,800. A campaign that fills the diary with $265 call-outs while the crew that does sewer work sits idle is a creative planning failure, not a media one. We start from your job mix.

Cost per booked job, first and last. Hook rate and cost per lead tell us which concept to iterate, but they are diagnostics rather than results. Plumbing and HVAC leads book at 41.5% with a closed return on ad spend of 2.72x in the 2026 benchmarks, so a concept producing cheap leads that never book gets retired even if the dashboard looks flattering.

Yes, and it is often the fastest way to start. Most plumbing companies have years of job photos and phone clips sitting in a shared drive, and a surprising amount of it is usable once it is cut, captioned and given a proper hook. We audit what you have, build a first round of tests from it, and use what we learn to plan the shoot day properly.

No. The same shoot feeds paid social, YouTube, display, your website and your quote follow-ups, and the stills cut from it work in paid search assets. Editing to each surface is part of the job rather than an afterthought, because a landscape cut dropped into a vertical feed is the most common way good footage is wasted.

Two to four weeks from kickoff to first test in most cases: a week to agree the plan and the services, a shoot day, then editing and launch. If you have existing footage worth using we often have a first round of tests running inside two weeks while the shoot is being scheduled around your job board.

You do, including the raw files, from the first shoot day. We hand over an organised library rather than a folder of exports, so another team could pick it up tomorrow without recreating anything. There are no long-term lock-ins, because creative that has to be held hostage by a contract was not working hard enough to be renewed.

They deserve their own creative voice, because you are selling prevention to someone with no emergency. That is a calmer, more explanatory format: what an annual check finds before it becomes a flood, what the plan covers, what it costs. We usually run it as a separate concept line to existing customers and past callers rather than mixing it with emergency advertising.

A named senior creative strategist with an editor and a producer alongside, and the same strategist stays with the account rather than passing it down a queue. You will know their names, you can email them directly, and the person who planned your shoot is the person who reviews the results with you each month.