What happens if we do not like the first script?

You get a second draft included, and we ask for the notes as a conversation rather than a document, because most script problems come from a positioning disagreement that surfaces faster in ten minutes of talking. If the second draft is still wrong, we stop and re-run discovery at our cost, because at that point we have misunderstood the brief.

Can we bring our own script or storyboard?

Yes. We do a paid pass on it rather than taking it as-is, usually a half-day, because a script written inside a company tends to assume knowledge the audience does not have. If it comes back needing nothing, we say so and credit the fee.

Who do we actually talk to?

One producer, from the first call to delivery. They brief the creative bench, run the schedule and hold the quality bar. You can meet the director or animator on your project, and on live-action work you usually will, but you never have to coordinate them.

What if the deadline moves?

Tell us early and we will re-cast if needed. The bench is the reason we can usually absorb a two-week compression that a fixed in-house team could not. Rush work carries a 25% surcharge when it displaces other scheduled projects, and we will tell you before we apply it, not after.

How do you handle feedback from multiple stakeholders?

We ask for one consolidated set of notes per round, from one named person. This is the single biggest predictor of whether a project lands on schedule. Conflicting notes from six people is a decision that has not been made yet.

PROCHow it works

Six stages. Four hours of your time.

Most of what goes wrong in video production goes wrong before anyone opens an edit timeline. The process below exists to move every expensive decision into a cheap week.

Six blank sheets laid out in a row on a studio table, one per production stage

Six stages

Every stage ends in a written approval. No stage starts before the one before it closes.

01
Brief
A 45-minute call and a written brief back to you the same week. We ask what the video is competing against for attention, who has to approve it, and what happens if it works. If a video is the wrong fix, this is where we say so.
Day 1
02
Cast
We assign the project from our partner bench: a director, an animator and an editor picked for this brief rather than whoever is free. You see who is on it and the work they have done before, not just a studio reel.
Days 2–4
03
Script
Two drafts. Written against your sales calls and your positioning, not your feature list. Nothing goes to storyboard until the script is approved, because every problem is cheaper to fix here than anywhere downstream.
Week 1–2
04
Board
Style frames and a timed storyboard. You approve the look and the beat structure before a single frame is animated or a crew is booked. This is the last cheap stage, and we use it properly.
Week 2–3
05
Build
Production or animation, sound design, grade and mix. You see a rough cut at the halfway mark rather than a finished film at the end, so notes land while they are still inexpensive to act on.
Week 3–5
06
Deliver
Master file, cutdowns, vertical crops, captions and source project files. Ownership transfers on delivery. The work, the assets and the licences are yours.
Week 5

RULEFour rules

What holds the process up.

Every stage ends in writing

Approvals are recorded, not assumed. It sounds bureaucratic and it is the reason projects do not reopen a decision in week four that was settled in week one.

Cheap stages carry the risk

Script and storyboard are where changes cost hours. Animation and post are where they cost weeks. We front-load the argument deliberately so the expensive stages are execution, not exploration.

You see the rough cut

Not a finished film at the end. A rough assembly at the halfway mark, with placeholder audio and unfinished frames, while notes are still inexpensive to act on.

The bench is visible

You are told who is on your project and shown their work, not the studio showreel, which is a compilation of forty people. If their reel does not convince you, we cast again.

REQFrom you

Three things, and that is all.

01
One decision-maker
Someone with authority to approve a script without a committee. This matters more than any asset you could send us.
02
Access to what exists
Product logins, brand guidelines if you have them, recorded sales calls if you keep them. Nothing needs to be tidy.
03
An honest deadline
The date it actually has to be live, not the padded one. We will tell you plainly whether it is achievable.

FAQQuestions

About working together

Around four hours in total across five weeks. A 45-minute kickoff, then four review sessions of roughly 30 to 45 minutes each. Everything between those is on us. Projects that take more of your time are usually the ones where feedback is arriving from several people separately.

ENDStart here

Start at stage one.

The brief call is 45 minutes and costs nothing. You will leave it with an honest read on whether a video fixes your problem, whichever way that goes.

Start a project See pricing first

Six stages. Four hours of your time.

Brief

Cast

Script

Board

Build

Deliver