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Film with a job to do in a campaign.

Brand films, product demos, explainers, testimonials, plant films and social video, scripted around the job the film has to do in a campaign.

A camera set up on a tripod during a shoot.
Typical length
Four to eight weeks
Shoot days
One to three
Ends with
Masters and cut-downs
Discuss a film

What the film is for

Every film here is commissioned to do something specific: open a cold conversation, explain a product a salesperson keeps having to explain twice, prove a claim with a customer saying it instead of you, or show a factory to buyers who will never visit one. We agree which of those it is before anybody writes a script, because it changes the length, the format and where it runs.

The films that waste money are the ones with no job. A four-minute corporate film with drone shots and an orchestral bed gets made because everybody enjoys making it, sits on a homepage nobody scrolls to, and is watched to the end by the people who commissioned it. We will say so before quoting.

The other half of the work is what happens after the edit. A film that exists only as one master in one aspect ratio has been half made. The same shoot should produce the sixteen-by-nine master, the vertical cut for social, the fifteen-second version for paid, the silent version with subtitles that most feeds actually play, and the stills. That is planned at the storyboard stage, because it changes how things are framed on the day.

We shoot across India and work with the same crews often enough to know what they are good at. Where a specialist is genuinely better for a job, we bring them in and tell you what that costs rather than absorbing it into a line called production.

Scope

What is included

  • Script and treatment

    The idea, the structure and the words, written against the job the film has to do. You approve a treatment before anything is booked, and the treatment says plainly what the film is for.

  • Storyboard and shot planning

    What gets shot and how it is framed, planned so the vertical cut and the short versions come out of the same day, never out of a compromise in the edit.

  • Production

    Crew, camera, lighting, sound, direction and on-site management. Casting, locations, permissions and a schedule your operations team has agreed to.

  • Post-production

    Edit, colour grade, sound mix, music licensing, motion graphics and titles built from your identity, never a stock template.

  • Versions and cut-downs

    Landscape master, vertical and square cuts, short versions for paid media, a silent subtitled version, and the stills pulled from the footage.

  • Handover

    Masters at delivery specification, web-optimised versions, subtitle files and the raw footage, which is yours. Music licences are documented so you know what you may use where.

How it runs

  1. Weeks one and two

    We agree what the film is for, then write the treatment and script. You approve both before anything is booked, and we tell you at this stage what the honest budget range is.

  2. Weeks three to five

    Storyboard, casting, locations, permissions and scheduling, then the shoot itself. One to three days depending on scope, planned so every version you need comes out of the same footage.

  3. Weeks six to eight

    Edit, grade, sound, graphics and two rounds of revision on the cut. Then the versions, the subtitles and the handover, with the raw footage included.

What you get

  • Landscape master at delivery specification, plus web-optimised versions
  • Vertical and square cuts, and short versions for paid media
  • A subtitled silent version and the subtitle files
  • Stills pulled from the footage, colour graded
  • Raw footage and project files, owned by you
  • Documented music licences covering where the film may run

How it is judged

  • Whether the film gets used in the campaign it was made for
  • Watch-through on the platforms it was cut for
  • Whether sales send it without being asked to
  • Cost per qualified enquiry where it runs as paid creative

Questions we get asked

What does a video cost?

The range is wide and it is driven by shoot days, crew size, locations and whether there is casting. We give a fixed quote against an approved treatment, and never a number produced before we know what the film is. Anybody quoting a film before reading the brief is quoting a template.

Do we own the footage?

Yes, including the raw material and the project files. Music is the exception, because it is licensed rather than owned, and we document exactly where each track may be used so you do not find out from a takedown.

How many rounds of changes are there?

Two on the cut, which is enough when the treatment and storyboard were approved properly. Changes that reopen the script after the shoot are a new production rather than a revision, and we say that at treatment stage so nobody is surprised.

Can you shoot at our factory?

Yes, and it is some of the most useful film a manufacturer can have. It needs planning around your operations rather than around ours: safety, access, shift patterns and what may appear on camera all get agreed before we arrive.

Do you do animation and motion graphics?

Yes, and for some jobs it is the better answer. A process that cannot be filmed, a product that does not exist yet, or a concept that needs a diagram will do more work as animation than as footage of somebody talking about it.

Can one shoot produce several films?

Often, and it is the cheapest video you will ever buy. Planning it that way changes what gets captured on the day, so it has to be decided at storyboard, because discovering it in the edit is too late when the material is not there.

Next

Tell us what the film has to do

Not what it should look like. What job it has to do, who has to watch it, and where it runs. We come back with a treatment idea, an honest budget range and whether film is the right answer at all.

Discuss a filmBack to brand and creative

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