Stock photos of a smiling roof do not sell a roof.

We film your work. A production day is booked around live installations so we capture the tear-off, the underlayment, the metal panels going up and the finished ridge in real light, plus short pieces to camera from your owner and lead installer. Stock libraries are why so many contractor ads look identical, and a homeowner can tell within a second whether the house on screen is from their county.

Enough to run a quarter comfortably. A single day typically yields several vertical cuts for reels and stories, square versions for feeds, a longer piece for the website, static sets for search and display, and before-and-after pairs per roof system. We plan the shot list against the concepts first, so the day produces the material the campaigns actually need rather than a hard drive of pretty footage.

It is where creative pays best. The 72 hours after a major hail event are the most valuable window in the trade, and the contractors who win it are the ones with material already cut, approved and ready to launch. We build that reserve set before the season and hold it, including claim-process explainers that answer the questions homeowners ask an adjuster.

Creative is reported by cost per booked inspection and, where the sales data allows, cost per signed contract. Tracked numbers and form attribution go in first, then our analytics team ties concepts to outcomes rather than to engagement. You will see which story is carrying the account and which one is merely collecting comments, which is usually not the one people expect.

It depends on shoot days, travel and how many placements you buy, and we quote it plainly before anything is booked. Most contractors start with one production day and a versioned library, then add a quarterly refresh once the first set has proven itself. We would rather scope a first project you can measure than sell a retainer before you have seen how we work.

Yes, with your estimator in the room. An offer that cannot survive a real quote damages both the campaign and the reviews, so financing terms, warranty language, inspection promises and response times are checked against what your team genuinely does. The same wording then carries through to the landing page and the follow-up, which is where most contractor funnels fall apart.

Comfortably. Plenty of contractors keep their current media buying and bring us in for production and concept work; we deliver the library, the specifications and the test plan, and their buyer runs it. If you would rather have one team, our paid social group can take the media as well, and the two halves then share one plan.

Watch frequency and cost per inspection rather than the calendar. In a dense storm market a strong concept can fatigue in weeks; in a steady replacement market the same film can run for months. We keep a monthly test running so replacements are ready before the numbers turn, which is far cheaper than scrambling for a shoot once performance has already slipped.

Both earn their place. Video carries craft and trust, which is what moves a homeowner considering a full replacement; statics are cheaper to iterate and often win on retargeting and on search placements. That is why one shoot day is planned to produce both, and why we test them against each other rather than assuming the more expensive format wins.

Very little beyond access and a safe site. We work around the job rather than pausing it, bring our own drone pilot and insurance, and ask for perhaps twenty minutes of the owner's time for a piece to camera. Crews are usually asked only to carry on working normally, which is exactly what makes the footage look like your company instead of an advert.

You do. Every finished cut, every static, the caption files and the raw material we did not use are delivered in full resolution and stay in your possession, whatever happens with our engagement. That is the same rule we apply to ad accounts and tracking across every service we run.

A named senior creative lead who was on your roofs during the shoot, with an editor and a paid media strategist alongside. The same people stay with your account, so the person reviewing performance with you each month is the person who wrote and shot the material.