Studio
Photo, video and social media content, shot and edited by our own crew.
We run photo and video shoots and edit them into campaign films, cut-downs and monthly social media kits. Choose one shoot day, one campaign or a monthly retainer.
- Crew
- In-house roles, brief to delivery
- Kit
- Cinema cameras, controlled light, clean sound
- Engagement
- Monthly · campaign · shoot day
- Delivery
- 4K masters, every shape, captioned
A field monitor on set, playing a recent piece from the studio with the camera’s readouts around it.
What we offer
Six studio services, bought alone or together.
Each one is scoped in writing before we book a camera: what we make, in which shapes and by when.
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Photo and video shoots
Studio and location shoots of products, people and places, with stills and video captured on the same day.
How a shoot day runs -
Edits and campaign cut-downs
Campaign edits, edit reels and cut-downs, finished in our own suites with titles, colour, sound and captions.
See every cut and shape -
Monthly social media kits
A month of reels, posts, stories and carousels, planned and shot together and delivered in weekly batches.
What a month includes -
Static and motion ad creatives
Ads made from the shoot’s key visuals, sized for every placement in your media plan.
How we deliver them -
AI creative and localisation
Variants, language versions and generated scenes, directed and approved by a named person, with every model, prompt and licence logged.
Explore AI Content Studio -
Launch films and product walkthroughs
Films for a product, platform or website launch, and captioned screen walkthroughs for buyers, users and new hires.
Watch them in Films & Media
Monthly social media kits
Monthly social content, on brand and on time.
Each month runs on one plan, one shoot and a steady edit cycle, and its results shape the next one.
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01PlanWeek 1
Themes, content calendar, scripts and shot list, agreed with you before the shoot is booked.
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02ShootWeek 2
One shoot day, or half a day, captures the month’s video and stills.
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03EditWeeks 2–3
Reels, posts, stories and carousels cut, captioned and reviewed in batches.
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04DeliverWeeks 3–4
Approved batches scheduled to the calendar, with captions, alt text and hashtags for each post.
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05ReviewMonth end
We read each platform’s numbers to see what held attention and what did not.
A four-week calendar showing the days each of the five stages takes: plan, shoot, edit, deliver and review.
What a typical month includes
| In a typical month | EssentialOne brand, one or two platforms | GrowthA brand posting most days | Always-onSeveral platforms, several languages |
|---|---|---|---|
| Short-form videos (9:16 reels and shorts) | 6–8 | 10–14 | 16–24 |
| Feed posts (4:5 and 1:1) | 8–12 | 12–16 | 20–30 |
| Carousels | 2–4 | 4–6 | 6–10 |
| Stories | 12–20 | 20–30 | 30–45 |
| Shoot time | Half a day | One day | Two days |
| Languages | One | One or two | Up to three |
| Review rounds per batch | Two | Two | Two |
| Monthly report and next month’s plan | Included | Included | Included |
Typical ranges, not a rate card. Each month’s numbers are set in the scope and confirmed in writing; tiers can be mixed.
Campaign edits
Campaign films, cut to every length and shape.
We shoot once with every cut planned, then edit the hero film and its 60, 30, 15 and 6-second versions, with captions and subtitles.
Start a campaign brief| Cut | 16:9YouTube, web, TV | 1:1Feeds | 4:5Feed ads | 9:16Reels, Shorts, Stories |
|---|---|---|---|---|
| Hero film60–90 sLaunch, website and YouTube | Delivered | Delivered | On request | On request |
| Long cut60 sFeeds and long-form social | Delivered | Delivered | Delivered | Delivered |
| Mid cut30 sPaid social and pre-roll | Delivered | Delivered | Delivered | Delivered |
| Short cut15 sStories, Reels and skippable ads | Delivered | Delivered | Delivered | Delivered |
| Bumper6 sBumpers and teasers | Delivered | On request | On request | Delivered |
Shoot days
Every shoot, planned before the day and finished after it.
You sign off the plan, watch the shoot live and comment on every cut.
A typical campaign shoot
- Day −10Brief agreed
- Day −5Treatment and shot list signed off
- Day −2Call sheet out
- Day 0Shoot
- Day +5First cut
- Day +10Masters and versions delivered
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PREFrom the brief to the day before
Pre-production
- Brief and treatment
What the content must do, for whom and where it will run, agreed in writing.
- Moodboard
References for light, colour, framing and pace, checked against the brand rules.
- Shot list
Every set-up, shape and line of dialogue, timed against the day.
- Call sheet
Crew, cast, location, permits, releases, kit and the running order.
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PRODThe shoot day
Production
- In-house crew
Producer, director, camera, light and sound, all from the studio.
- Professional kit
Studio, location or both, lit and recorded to the look agreed in the treatment.
- Live monitor on set
Your team watches on set and approves while the light is still right.
- Data backed up twice
Every card copied to two drives and checked before it is cleared.
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POSTFrom wrap to delivery
Post-production
- Edit
The story, the pace and the cut-downs, reviewed on a link you can comment on.
- Colour
A grade that matches across every shot, shape and platform.
- Sound
Dialogue clean-up, licensed music and a mix to loudness standards.
- Motion
Titles, supers, end cards and animated type that follow your brand guidelines.
- Deliver
Masters, versions, captions and a rights log, named and filed.
Equipment
Cameras, lighting and sound, chosen for each production.
Our crew prepares and runs the kit, from cinema cameras to a colour-managed edit suite.
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Cinema cameras and lenses
- Cinema cameras recording 4K and above
- Log and RAW recording for a full grade
- Cinema prime and zoom lenses
- Field monitors and wireless video to the client monitor
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Lighting and rigging
- Colour-tunable LED key, fill and practical light
- Soft boxes, diffusion, flags and negative fill
- Stands, rigging and grip for studio and location
- Power planned for each location
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Sound recording
- Wireless lavalier systems
- Shotgun microphones on a boom
- Multitrack field recording with safety tracks
- Timecode shared between camera and sound
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Camera support and movement
- Gimbals for moving shots
- Sliders and dolly track
- Tripods with fluid heads
- Aerial filming where it is permitted and licensed
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Edit and colour suite
- Grading on calibrated reference monitors
- Professional edit, colour and sound software
- Loudness metering to platform and broadcast standards
- Review links with frame-accurate comments
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Storage and backup
- Two copies of every card before it is cleared
- Checksum-verified offloads
- Redundant storage in the suite
- An off-site archive of masters and project files
Exact models are listed in each production’s kit list and call sheet.
In-house team
The same in-house team from the brief to the final file.
The person who planned a shot is in the room when it is cut. Brand, AI and technology specialists join from our other teams when needed.
| Role | Owns | On the job |
|---|---|---|
| Producer | Budget, schedule, call sheets and your sign-offs | Pre · Shoot · Post |
| Director | The idea on screen: casting, performance and the shot list | Pre · Shoot · Post |
| Director of photography | Light, lenses and the look of every frame | Pre · Shoot |
| Camera and assistants | Movement, focus, sound on set and the data | Shoot |
| Editor | The story, the pace and every cut-down | Post |
| Colourist | The grade and colour consistency across shapes and platforms | Post |
| Motion designer | Titles, animation, supers and end cards | Post |
| AI artist | Variants, localisation and generated scenes, logged and approved | Pre · Post |
| Social strategist | The month’s plan, formats, captions and report | Pre · Post |
Who works on your project is named in the proposal.
Meet the teamDelivery standards
Delivered to spec, filed so your team can find it.
Every delivery follows one written specification: master format, encoding, loudness and where the files are kept.
Masters and deliverables
- Masters
- Apple ProRes 422 HQ, UHD 3840 × 2160 when shot in 4K
- Delivery files
- H.264 or H.265 MP4 to each platform’s published specification
- Colour
- Graded on a calibrated display; Rec. 709 for web and broadcast, HDR on request
- Loudness
- −14 LUFS for social and streaming; EBU R128 (−23 LUFS) or ATSC A/85 (−24 LKFS) for broadcast; true peak −1 dBTP
- Captions
- Burned-in for sound-off feeds; SRT and WebVTT sidecar files
- Shapes
- 16:9, 1:1, 4:5 and 9:16, inside each platform’s safe zones
- Stills
- Retouched JPEG in sRGB for screens; TIFF for print
- Archive
- Masters and project files kept for twelve months after delivery
Example delivery folder
An example delivery folder: masters, cut-downs, captions, stills and the rights log, each file named by cut, shape, language and version.
- Review rounds
- Two rounds of changes per cut, with comments pinned to the frame.
- Usage rights
- Talent, music, stock and AI models licensed for the territories and term in the scope, listed in a rights log.
- Ownership
- The final masters are yours once paid for; licensed elements follow their own licence.
Recent work
Studio work, from edit reels to AI creative.
Press any piece to watch it full screen, with sound and credits.
See all of Films & Media-
Edit reel0:06
DESTINY
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Motion graphics0:11
Brand teaser: We build things that matter
Made for Xterra Edze
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Social media kit6 posts · 3 stories
Launch social kit
Made for Xterra Edze
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Media kit10 spreads
Brand media kit
Made for Xterra Edze
Questions
Retainers, rights and AI, answered before you book.
How does a monthly retainer work?
Each month follows the same cycle: plan, shoot, edit, deliver and review. First we agree a tier and a scope: how many pieces, in which shapes and languages. You approve the plan before the shoot and every batch before it is published. Numbers can change month to month by agreement.
How quickly do you turn work around?
For a monthly kit, first cuts typically arrive three to five working days after the shoot. A campaign hero film and its cut-downs typically take about two weeks from the shoot. The scope fixes the dates for each project.
Do you shoot on location and travel?
Yes. We shoot in studio or on location, and travel with the crew and kit the production needs. Travel, permits and location costs are listed separately in the scope.
Who owns the footage and the rights?
The final masters are yours once paid for. Talent, music, stock and AI models are licensed for the territories and term the scope names, and every delivery comes with a rights log that says what is cleared, where and until when.
What do you need from us?
A brief, your brand guidelines and one person who can approve. We also need access to the product or location and any footage you already have. A checklist comes with the scope.
Can you edit footage we already have?
Yes. We cut, grade, caption and version existing footage, alone or alongside a new shoot, once we have checked its usage rights.
How do you use AI, and who approves it?
We use AI for variants, reframing, caption drafts, language versions and generated scenes. A named person directs and approves each result. The model, prompt and licence of every generated element are logged with the delivery.
Tell us what you need built.
You will speak to a lead who would run the work, and get a straight answer on fit.
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01About 2 minutes
A quick question
You get A reply from a named lead
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02About 8 minutesRecommended
A project brief
You get Options and a first scope after one call
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03About 15 minutes
A formal RFQ or RFP
You get Receipt confirmed and a named bid lead
Every engagement starts with a written scope and a quote agreed before work begins. How each package is priced