If what you need is consistency, week after week, it's Social. If it's one film that carries the brand and has to make people feel something, it's Signature. If the value sits in the images themselves, a product, a mechanism, a world that has to be built, it's Digital. Most conversations resolve this in ten minutes, and if two of them fit we'll tell you which one we'd choose and why.

Paid media, broadcast, cinema and out of home. Camera originals, project files and 3D scenes. Talent, voice-over, direct sound recording, locations or studio rental, permits, travel and accommodation. Additional CGI shots, complex modelling from scratch, extra formats and further rounds of revision. None of it is hidden: it's quoted with the project when the project needs it, and nothing appears on an invoice that wasn't decided together first.

Because price follows what has to be created, not how long it runs. A film built shot by shot can carry more work in thirty seconds than a filmed one carries in ninety. Signature and Digital are priced separately for the same reason: the complexity sits in different places. One carries a narrative, the other builds every image.

No. We don't sell a production method. Every shot is filmed, built or generated according to which route gives the result your brand needs, at the quality agreed. Sometimes that means a camera, sometimes it doesn't, and often it means both inside the same film. Nothing is ever filmed to justify a price.

The films. Our default is that they're yours to use on the channels you control, worldwide and without an end date. Paid media, broadcast, cinema and out of home work differently, because cast and music carry their own terms, so those uses are priced with the project rather than assumed. Source material is separate too: camera originals, project files and 3D scenes stay with us as working material and can be handed over when you want them. What applies to your project is written into the proposal before anything begins.

Tell us anyway. These are not opening positions, they're what the work costs, and we'd rather point you towards someone who does good work at your level than stretch a project until it stops being worth making. A brand film made on the wrong budget costs a brand more than no film at all.

Yes, and it's a common route: one film that sets the direction, then a system that keeps it consistent. It works the other way round too. What we can't do is turn a monthly engagement into a flagship film halfway through without changing the engagement, because the work is genuinely different. If that's where a project is heading, we'll say so early rather than at the invoice.

Each film includes two rounds. A round is your consolidated notes on a stage we agreed to review, gathered from everyone who needs a say. Reopening something already signed off, a script after the shoot, a concept after the edit, isn't a revision: it's a new decision, and we'll tell you what it changes before we do it, not after.