One day of filming. A year of usable footage.

Strategy and scripting, casting and locations, the filming itself with a team and equipment, editing including grade, mix and subtitles, licensing, and organised handover in every ratio you run. The part that decides value is the least visible: agreeing the list of assets the production must yield before anyone writes a script, so the shot list serves the cutdowns and vertical variants rather than only the hero film. We also read how the footage performed afterwards, because that is what makes the next production cheaper and better rather than a repeat of the same guesses.

It scales with the day rather than the minute: unit size, cast, locations, how many setups you need and how many finished assets come out of the edit. A single-location day with a small unit and a defined set of cutdowns is a very different figure from a multi-day schedule with talent and a studio build, and the honest driver of cost is usually the count of setups rather than the camera. We quote a fixed scope with the deliverable list attached, price options for extra cutdowns separately, and tell you plainly where a smaller production would get you the same result.

Because placements consume video at different rates and in different shapes, and because attention has fragmented. Metricool's 2026 study found Shorts views up 127% year over year while viewers spent three times less time watching each one — more discovery, shorter engagement. A campaign that runs a single sixty-second film everywhere is paying full price for partial performance and will be out of creative within weeks. Designing for cutdowns, verticals, silent captioned versions and alternative openings costs a little more in planning and editing, and roughly multiplies what the same production day is worth.

Yes, and it is usually the most efficient way to buy both, provided the plan is honest about the tension. Brand film wants craft, patience and a considered opening; performance cuts want a hook in the first second and a claim early. We resolve that by scheduling both intentions into the day: the hero setups get their time, and while the crew is lit we capture the performance openings, the demonstrations and the vertical framings that ads need. What we avoid is pretending a cinematic film can be cropped into ad creative afterwards, which is where most of these projects disappoint.

Either, and we are happy to start from yours. When we write, the script starts from the job rather than from a format: who is watching, what stops them buying, what the video has to prove, and what it can leave out. We share an outline before a full draft so disagreements happen cheaply, and we write the alternative openings at the same time so they can be shot on the day. If you have a script already, we will read it against the deliverable list and flag anything that will not survive a vertical crop or a fifteen-second version, which is usually a quick fix on paper and expensive later.

In writing, before we film. Music is licensed for the territories, placements and durations you actually intend to run, and we tell you the cost difference between a library track and something bespoke rather than assuming. Talent agreements cover paid usage, term and territory, including whether cuts may run as ads under someone's own handle. Everything is recorded in a licence note delivered with the files, so nobody has to pause a performing ad in eighteen months while a contract is hunted down. Where a term is short, we flag the expiry date to you in advance.

A defined count, agreed in the scope, with consolidated notes per round — typically two rounds on the hero cut and one on the derivatives. That is not a way of limiting collaboration; it is what keeps finish dates real, because open-ended feedback loops are the single most common reason video arrives late. We make it hold by getting agreement earlier: an outline before the script, a shot list before the day, and a rough cut before the polish, so the expensive rounds are about detail rather than direction. Extra rounds are available and quoted, never invoiced as a surprise.

Yes to both, and it is often the cheapest way to get moving. We regularly audit an existing library, find the coverage that was never cut, and produce a wave of new assets from footage you have already paid for — the results are frequently better than starting from scratch. We also train in-house teams to cut social variants between productions, hand over project files and templates, and direct your editors with briefs when you would rather keep it internal. Outsourcing part of the pipeline is normal: 42% of businesses rely on external video creators in some capacity.

By agreeing the measure before we film, then reading it. On paid cuts we look at hook rate, hold rate, click rate and cost per acquisition per cut, which also tells us which opening earned its place. Organically we read retention curves rather than view counts, because where people leave is the useful signal. On landing pages we look at engagement and conversion with the video present versus absent. Then the next production is briefed from that evidence, which is the gap in most video programmes: plenty of footage, no feedback loop.

We can, and it shortens the loop when the people cutting the footage see the results daily. Our paid social, TikTok and Meta teams read the same cut list and scorecard, so a winning opening gets variants in days rather than at the next round. It is equally fine to hire us for production alone: we deliver organised, licensed files and a testing suggestion, and we will read the results with your buyers or your other agency so the next production still learns something.