STUDIO · 01
Content & Film studio.
A full production house inside the agency — DOPs, editors, sound designers and colourists working off the same brief as your brand and demand teams. Built to ship a hero film and the forty cut-downs it fuels, not one-off vanity reels.
A film is not a deliverable. It's an asset that has to keep working — in pipeline, in PR, in the next pitch deck, in the next hire's onboarding. We shoot for shelf-life, not show-reels.
One shoot, compounding output.
From brief to broadcast, one team.
No agency-to-production-house handoffs. The team that wrote it is the team that shoots it, edits it and ships it into your demand calendar.
Story frame
Brief, narrative spine, shot-list and rights — written with the brand and demand teams in the room.
Pre-production
Casting, locations, scheduling and treatment. Director's POV signed off before a single rupee of crew is booked.
Shoot
In-house DOPs, sound, gaffer and AD. Multi-format capture so a single day yields hero, vertical and stills.
Post & distribute
Edit, colour, sound design, motion graphics — then sliced into a release calendar across paid, owned and earned.
Three formats, one production system.
Hero films
The 90-to-180-second flagship. Brand films, manifesto films, product films — the one piece every other asset is cut from.
Episodic series
Founder series, customer stories, category POV — a season of 6–12 episodes built to run for a quarter, not a week.
Performance edits
Vertical-first cut-downs, paid-media variants, retargeting loops — tested, iterated and fed back into the next shoot.
DOP, editor, colourist, sound — under one roof.
No third-party post houses. No 'we'll send it to grade and revert in a week.' Our colour and sound suites sit ten feet from the edit bays, so a director's note becomes a new cut the same afternoon.
Every shoot designed to feed twelve months.
We don't shoot for a launch — we shoot for a year. Multi-format capture, modular interviews, b-roll banks and rights cleared for paid usage. One production day becomes the raw material for an entire quarter's content calendar.
Film and pipeline, run on the same calendar.
Every hero film comes with its performance plan attached: paid variants, landing pages, sales-enablement cuts, ABM personalisations. The film exists to move pipeline — and the pipeline team is in the edit review.
Bring the brief. We'll shoot the year.
A hero film, the episodic series around it, and the social engine that keeps it on-air — built and operated by one team.
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