Your crews walk into the best footage in home services.

No, and a studio would make the work weaker. The footage that performs in restoration is the reality your technicians already stand in - the wet ceiling, the extraction, the dry room four days later. We give your crews a three-shot routine on their own phones, and the library grows every week you trade without anyone booking a shoot day.

Enough for the odds to work in your favour. Batch testing across home services produces measurable winners from roughly 7-12% of ads, with restoration at the strong end at 10-13%. We size the monthly batch from that maths and your spend, so you are running a process rather than hoping a single expensive film lands.

The ones that answer the two questions underneath the panic: how fast do you arrive, and who pays. Direct insurance billing messaging converted 28% higher across 200 audited contractor sites. After those, the drying process explained, the rebuild, and the mold question all earn their place - and which wins in your market is a question for testing rather than opinion.

Only with consent, handled properly - and that is our job to set up, not your technician's. We agree a consent process with you before any capture starts, keep identifying detail out of frame by default, and use structure and equipment shots rather than people whenever the story works without them. A homeowner who is glad to be filmed usually makes the strongest ad anyway.

Both, doing different jobs. Video carries proof - the ceiling, the equipment, the transformation - and it is where 62% of restoration marketers report their best performance. Static carries the offer: response time, coverage area, direct insurance billing, readable in a single glance. Running only one leaves the other half of the funnel unserved.

Against calls and booked losses, per concept. Hook rate and hold rate tell us why an ad worked and are useful for the next batch, but they are diagnostics rather than the score. With blended cost per restoration lead around $300 to $400, judging creative on views is an expensive habit.

The first batch usually gives a readable signal within three to four weeks, depending on spend. The compounding takes longer: by month three there is a proven angle to scale and a written log of what failed, which is what makes every later batch cheaper to produce and more likely to land.

Then the routine was too complicated, and that is on us to fix. We keep it to three moments and a single prompt, tie it to steps the crew already does, and review capture rates monthly with you. Where a branch is not capturing, we say so early and simplify rather than quietly running out of material.

Almost always, and it is the fastest start available. Most restoration companies have years of job photography and clips scattered across phones and drives. We inventory it, catalogue it by loss type and city, and usually get a first testable batch out of the archive while the capture routine is being set up.

Creative is the input, not a separate project. The winning angles become the ads in restoration PPC and paid social, and the same proof footage belongs on the emergency pages built in restoration web design. Reusing a proven angle across all three is the cheapest performance gain in the account.

Never. Every claim in an ad is checked with your operations lead first, because an over-promised arrival time produces a bad review and a refund rather than a customer. Where the honest answer is less dramatic we make the ad better rather than making the claim bigger, and we will tell you plainly when a competitor's promise is not credible.

Scope drives it: how many concepts a month, video and static mix, and whether we are building the capture system from scratch. We quote after the audit so the number reflects your material and your spend rather than an average.

Most of the budget is people - strategy, writing, editing and the monthly review - not equipment or licences. Because the capture happens on your crews' phones, restoration creative is usually cheaper per asset than any other trade we work in.

Ask three questions. How many concepts will they ship a month, and what winner rate do they expect? Do they measure creative against booked jobs or against views? And who writes and edits - the person in the meeting, or someone you never speak to?

An agency that talks in testing volume and business outcomes, and asks to see your job footage in the first conversation, is doing the job properly. Ask for a test log from a live client rather than a showreel of their prettiest work.

No. Running two clients' creative into the same local auction raises both their costs and dilutes both their stories, so exclusivity in your service area is part of the agreement and we confirm it before quoting.

A named senior strategist and editor who learn your crews, your response promise and the carriers you bill, supported by our creative strategy and analytics teams. You have their direct line, and the person presenting the batch is the person who cut it.