Studio · Shoots, edits and content
Shoots, edits and monthly kits, produced in-house to an enterprise standard.
One studio plans the shoot, crews it with our own people and professional kit, cuts every edit and delivers it to spec — as a monthly social media retainer, a campaign, or a single shoot day.
- 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 produce
Six kinds of output, one crew and one standard behind them.
Buy one on its own or run them together. Each is scoped in writing — what is made, in which shapes, by when — before anyone books a camera.
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Shoots — photo and video
Studio and location shoots for products, people and places, with stills and motion captured on the same day, lit and recorded to the brand’s rules.
How a shoot day runs -
Edits and campaign cut-downs
Campaign edits, edit reels and cut-downs: rhythm, titles, colour, sound and captions finished in the studio’s own suites.
See the cut-down matrix -
Monthly social media kits
A month of reels, posts, stories and carousels, planned, shot and edited as one system and delivered on a fixed cadence.
What a month includes -
Creatives — statics, carousels and motion
Static, carousel, display and motion creatives cut from the shoot’s key visuals and sized for every placement the media plan buys.
How we deliver them -
AI creative — variants and localisation
Variants, language versions and generated scenes, directed and approved by a person, with every model, prompt and licence logged.
AI Content Studio -
Launch films and product walkthroughs
Films that launch a product, a platform or a site, and calm, captioned walkthroughs of the real screens for buyers, users and new hires.
Watch them on the showreel
Monthly social media kits
A month of content, run like a production.
One plan, one shoot and a steady edit cycle every month — so the feed stays on brand and on schedule, and each month learns from the last.
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01PlanWeek 1
Themes, the content calendar, scripts and the shot list — agreed with you before the shoot is booked.
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02ShootWeek 2
One planned shoot day, or half a day, captures the month’s video and stills in one go.
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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 written for each post.
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05LearnMonth end
What held attention and what did not, read from the platforms’ own numbers, shapes next month’s plan.
A four-week calendar showing the five stages of a month — plan, shoot, edit, deliver and learn — and the days each one takes.
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
One campaign shoot, every cut and every shape.
We shoot once with every edit in mind, then cut the hero film and its 60, 30, 15 and 6-second versions in each platform’s shape — captioned, subtitled and versioned by language.
Brief us on a campaign| 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
Planned on paper, run to the minute, finished in post.
A shoot day is the visible part of a longer job. Most of the quality is decided before the crew arrives and after it leaves.
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 from the studio, not a crew met that morning.
- Formal kit, on a set
Studio, location or both, lit and recorded to the look agreed in the treatment.
- Watch it live
A monitor for your team on set, so approvals happen while the light is still right.
- Data, 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 from the brand system.
- Deliver
Masters, versions, captions and a rights log, named and filed.
Formal gear
Professional kit, prepared and run by our own crew.
Cinema cameras, controlled light, clean sound and a colour-managed post pipeline, chosen for each production and listed on its call sheet.
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Cinema cameras and glass
- 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 grip
- 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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Wireless audio
- Wireless lavalier systems
- Shotgun microphones on a boom
- Multitrack field recording with safety tracks
- Timecode shared between camera and sound
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Stabilisation 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 grade 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.
The in-house team
The same people from the brief to the final file.
The roles below sit inside the studio, so the person who planned a shot is in the room when it is cut. Specialists from our brand, AI and technology practices join when a project needs them.
| 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 monthly plan, formats, captions and what each month teaches | 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: what the masters are, how each version is encoded, how loud it plays and where it lives afterwards.
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
A delivery, as it arrives
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 pieces
From the studio, press any piece to watch it with sound.
Edit reels, social and media kits, motion and AI creative — each opens full screen, with its credits.
See the full showreel-
Edit reel0:06
DESTINY
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Motion graphics0:11
We build things that matter — brand teaser
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
Before you book, the questions buyers ask.
How does a monthly retainer work?
We agree a tier and a scope — how many pieces, in which shapes and languages — then run the same cycle each month: plan, shoot, edit, deliver and learn. You approve the plan before the shoot and every batch before it is published. The numbers can change from 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, the brand guidelines, one person who can approve, access to the product or location, and any footage you already own. We send a checklist with the scope so nothing is missed on the day.
Can you edit footage we already have?
Yes. We can cut, grade, caption and version existing footage on its own or alongside a new shoot, once we have checked what it is cleared to be used for.
Do you use AI, and how is it controlled?
Where it helps — variants, reframing, caption drafts, language versions and generated scenes. A person directs and approves every result, and the model, prompt and licence of each generated element are logged with the delivery.
Let’s build what happens next.
Tell us what you’re building. We’ll answer straight.
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01About 2 minutes
A quick question
You get A reply from a lead, not a sales queue
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02About 8 minutesMost useful
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