Commercial production briefed from campaign data, not a mood board

Plan on six to ten weeks for a standard spot: a week or two for script and boards, two to three weeks of pre-production for casting, locations and permits, one or two shoot days, and two to three weeks of post. Approvals drive the schedule more than production does, so we agree named approvers and turnaround times at kickoff. Rush schedules are possible when the shoot is simple and the approval path is short.

You do. The finished masters, every cutdown, the camera originals, the edit project files, graphics, audio stems and fonts are delivered to your own storage at the end of the job. Talent releases, location permits, music licences and stock terms are handed over in one clearance file listing term, territory and media for each. Our access to your accounts and drives is removed the day an engagement ends, and nothing we shoot for you is reused for another client.

By the measure we agree before the shoot. For direct-response spots that is cost per result, view-through and completion rate by cut, with calls and forms attributed in analytics. For brand campaigns it is reach, frequency and recall from a survey you commission, read alongside branded search volume and direct traffic. Every delivered file is named for its version, duration and placement, so reporting rolls up by cut and the next edit is briefed from evidence.

Every element carries a licence with a term, a territory and named media, and we buy the one that matches the media plan rather than the narrowest one that clears the shoot. Music comes from a production library, an original score written for the spot, or a commercial track where the rights holder allows it. Talent are engaged on a release or union agreement covering the same term and media. All of it is logged with expiry dates, so you know when to renew or pull a spot.

Yes, to the specifications the broadcaster or platform publishes. Masters are produced to the station's technical specification, including loudness, safe areas, slates and timecode, and delivered through the distribution route it uses. The same edit is versioned for online video, OTT, social and in-store screens in the durations and aspect ratios the plan calls for, with captions burned in where sound-off viewing is likely. We check every file against the receiving specification before handover, not after a rejection.

We need the media plan or a description of where the spot will run, your brand guidelines, access to campaign data or reports, the offer and its legal wording, and one named approver who can turn scripts and cuts around in two business days. On the shoot day you are welcome on set or on a live video link. We work to a call sheet you have seen, review takes against the board as we go, and back up every card to two drives before the crew wraps.

It depends on the scope: shoot days, crew size, cast and their usage terms, locations and permits, whether music is licensed or composed, and how many versions and languages the plan needs. Because those vary widely, we scope and quote each production individually rather than publishing a rate card. Send the media plan or a short description of where the spot will run, and we will reply within one business day with a recommended approach and a written quote.