Video Production & Ad Creative

Brand films, product videos and social ad creative — scripted and shot to convert rather than only to look good. Every shoot produces multiple cuts and aspect ratios, because one edit run until it stops working is not a campaign.

The most common way video budgets are wasted is not poor production. It is a single beautiful film, three minutes long, delivered in one aspect ratio, that nobody watches past the drone shot of the building. It cost a great deal, everyone in the boardroom liked it, and it moved nothing.

We plan the edit list before the shoot day, so one production produces the hero film, the short cuts, the vertical versions and the stills. Send us the brief and we will tell you what you can realistically get out of one day.

Who This Is For

• You are running paid social and your creative has stopped performing.
• You sell something that is easier to show than to describe — a process, a machine, a physical result, a place.
• You need to explain a product or a system to people quickly, and text is losing them.
• You are hiring and want candidates to see what the place is actually like.
• You have testimonials from clients who would happily say it on camera, which is the single most persuasive asset most businesses never collect.

Who This Isn’t For

• If you want one film and no plan for using it. Video is a distribution problem more than a production problem. If there is no budget or channel to put it in front of people, the production is the smaller half of what you need.
• If nobody will approve anything. Video approvals get expensive fast, because changes after the edit is locked mean revisiting decisions made on the shoot day. We build sign-off points into the script and first cut for exactly this reason.
• If the offer is the problem. Excellent creative for a proposition that does not land will produce excellent watch-through and no enquiries. That is a positioning conversation, not a production one.
• If you only want the corporate film for the website homepage. We will make it, but we will also tell you that it will be watched by fewer people than a fifteen-second cut on social will reach in an afternoon.

What We Produce

• Brand films — who you are and why anyone should care, usually 60 to 120 seconds with shorter cuts alongside.
• Product and explainer videos — how it works and what it does, for people deciding whether to enquire.
• Social ad creative — short, built for sound-off viewing, in vertical, square and landscape from the same shoot.
• Case study and testimonial films — your clients saying it instead of you. Firsthand evidence beats any claim you make about yourself.
• Recruitment and culture video — for the roles where candidates have a choice.
• Animation and motion graphics — for the things that cannot be filmed, including data, process diagrams and abstract products.

How It Runs

Brief and concept — a few days. Who it is for, where it will run, and what should happen after someone watches. The channel decides the length and the framing, so this comes before anything creative.

Script and shot list — 1 week. You approve here, and this is where changes are close to free. A script signed off properly is the difference between a smooth shoot day and an expensive one.

Pre-production — 1 week. Locations, scheduling, kit, permissions, and whoever needs to be available. We keep the demand on your people to a few hours rather than a day where possible.

Shoot — usually one day. We shoot for the full edit list rather than just the hero film, which is what makes the multiple cuts possible without a second production.

Edit — 1 to 2 weeks. First cut for review, one round of consolidated changes, then final versions in every format required. Consolidated matters: sequential individual notes from four people is how edits triple in cost.

Delivery. Every cut, every aspect ratio, captioned versions, plus stills pulled from the footage for use elsewhere.

Sound Off, Thumb Moving

The majority of social video is watched without sound, on a phone, by someone scrolling. That single fact should shape the whole production and usually does not.

In practice it means the first second has to carry a reason to stop; captions are part of the design rather than an accessibility afterthought; the framing has to survive a vertical crop; and anything essential said aloud must also appear on screen. Films shot for a landscape screen with a narrator and then cropped for social are recognisable instantly, and they underperform for reasons that have nothing to do with the quality of the filming.

Ownership and Licensing

You own the finished edits outright. Raw footage and project files are handed over on request, so you can re-cut in a year without re-shooting — which is worth having, because you will want a new length eventually.

The one exception is licensed music, where the terms belong to the library rather than to us. We will always tell you what your licence covers, including whether it extends to paid advertising, because the difference between an organic-use and a commercial-use licence is a genuine legal distinction and an easy one to fall foul of.

What It Costs

Quoted per project after the concept conversation. The variables: number of shoot days, number of locations, crew size, whether you need talent or presenters, animation complexity, and how many finished cuts and formats you want out of it.

Most of the cost is in the shoot day, which is why the edit list should be decided before it rather than after. Adding three extra cuts at the planning stage is inexpensive. Adding them once the crew has gone home means shooting again.

Related

Creative is only half of it — distribution is digital marketing and SEO. If the look of the finished films needs to match everything else you publish, start with brand identity design.

Aspect ratios and length limits differ per platform and change often; Meta’s ads guide lists the current specifications we cut to.

Last reviewed 12 September 2026