Video production that earns its place on every channel

You do. On delivery you receive the graded masters, every channel version, the subtitle files, the project files from the edit and colour suites, and the full set of raw camera and audio files. Music and stock licences are bought in your organisation's name where the supplier allows it, and we hand you the licence documents. Nothing is held back, and nothing depends on staying a client to keep using it.

We agree the measure before the shoot and write it into the scope. For a product or explainer film it is usually completion rate and the conversion rate of the page it sits on, compared against that page before the film was added. For recruitment it is applications started. For an event film it is watch-through and registrations for the next one. The figures come from your own analytics, not a dashboard we control.

Because the planning, the crew day and the time of the people on camera are the parts you only want to spend once. Once an interview is captured and lit properly, producing a long-form film, a short cut, a set of vertical clips and a silent captioned version is post-production work on the same material. We plan the shot list and framing at the start so vertical crops are protected, rather than cropping a wide frame afterwards and losing the subject.

Less than most people expect. We send questions in advance, confirm locations and a running order, and keep each interview to a booked window so people return to work. Crew size is set by the shoot, not by habit. For location work we arrive early to light and test sound, and we work around operating hours in facilities that cannot stop for a camera.

Yes. French can be a subtitle track, a voiceover, or a full second edit with a French-speaking interview subject. We recommend the approach during planning, because it changes what we capture. Subtitles are written and checked by a person, not machine-generated and left. Both language versions are delivered in the same set of channel sizes.

Concrete deliverables named in the quote: the exact cuts, lengths, aspect ratios and languages you will receive. Weekly demos so you see cuts in progress rather than a single reveal at the end. A fixed number of revision rounds stated up front. Replies within one business day. If you stop working with us, you already hold the files and licences and can take the work to anyone.

Often, yes. Send us what exists and we will tell you honestly what is usable. Older footage frequently works as supporting shots even when it cannot carry a film on its own, and archive material can be re-graded to sit alongside new capture. Where the resolution, sound or framing will not hold up, we say so before an edit is built on it.