The Single Spot
One commercial, written, shot and delivered in the formats you need. No media buying.
- Script developed with you
- One shoot day
- Thirty-second and six-second cuts
- Vertical, square and landscape masters
A remote studio — we work where your audience is
We write, shoot and run the commercial that makes a small business impossible to scroll past.
Nobody skips an advertisement because it is an advertisement. They skip it because it spent four seconds saying something they already knew, in a voice that could have belonged to anyone.
So the work starts with a question that has nothing to do with media buying: what is the one thing you sell that a stranger would stop for? Not the mission, not the values — the thing. The oven that is on at five in the morning. The van that turns up on a Sunday. The two-week turnaround nobody else offers. A commercial is thirty seconds long and it can carry exactly one idea. Choosing that idea is most of the job, and it is the part we do before a camera comes out of its case.
It is tempting to do it the other way round, because budget feels like action. But money moves whatever you give it, including a weak idea, and a weak idea at scale is just a more expensive way to be forgotten. We write the script, agree it with you line by line, and only then talk about where it runs and for how long. If the script is not making you want to buy your own product, there is no placement that fixes it.
Then it gets made properly. Lighting that flatters the product rather than flattening it. Sound recorded on the day, not fixed in the edit. A cut that lands the name in the first two seconds, because on a phone that is all you are promised. Out of one shoot we take the formats you will actually need — vertical for feeds, landscape for pre-roll, a six-second version that works with the sound off and captions burned in, not bolted on.
A report that says impressions: a lot is not a report, it is a reassurance. Ours says how many people saw the spot, how many watched it to the end, which cut held them longest and which one lost them, and what each of those completed views cost. You should be able to read it in five minutes and tell us to put more money behind the second version. That is the point of measuring anything.
If you have something worth looking at and nobody is looking yet, that is a fixable problem, and it is a short conversation to start fixing. Tell us what you are selling.
One idea, thirty seconds, your name in the first two. We write it, you mark it up, we rewrite it until it sounds like your business and not a template.
Product, premises, people — filmed on a real set or in your own space, with sound recorded on the day. You see the first assembly before we colour or mix it.
Audiences built, budgets split across cuts, the flight watched daily and the losing version switched off while it is still running, not after.
Views, completion rate, cost per completed view and which cut earned them — in a report you can read without a glossary and act on the same week.
Where the spots get made, and what they look like halfway through.
Three ways in. Most clients start with one spot and come back for the flight.
One commercial, written, shot and delivered in the formats you need. No media buying.
The spot plus the run: audiences, placements and daily management for the length of the flight.
A steady drip of short promotional pieces for brands that need to stay visible between campaigns.
Scope and cost are quoted per project after the first call — nothing is booked before you have the written scope in hand.
Two lines is enough to start. We will come back with questions, not a brochure.
Someone from the studio will get in touch shortly with a few questions about what you are selling.