A finished product ad, in days rather than weeks.
Most of this industry quotes in weeks, and charges a premium to go faster. This runs in days once the brief is locked and any assets are in hand — because there is no queue between departments, no account manager relaying notes, and no waiting on a shoot date. You approve exactly what it will look like before it’s produced, and you get back a finished, graded master.
Kindred Skin — Green Studio
12.5 seconds · 1920×1080 · 24fps · self-directedOne idea, carried the whole way: a single drop’s journey from bottle to skin and back, through a warm forest-green studio. No face, no hands — the product and the material do all the work.
Built for an invented brand, to my own brief — which is why I can show every frame of it and explain every decision. Two more on the Work page, including a vertical 9:16 cut built for paid social.
What you get
A locked brief before anything is produced
The world, the light, the camera moves, and the exact wording of any on-screen text — agreed while changing it is still free.
Sign-off on the look, scene by scene
You see a photoreal still of every scene and approve it one at a time. Nothing goes into production on a guess, and nothing arrives as a surprise.
A finished master, not raw footage
Cut, paced and colour graded in DaVinci Resolve. Delivered at the length, ratio and resolution the brief calls for, in 4K where the placement supports it.
The versions each placement needs
The same piece cut for where it’s actually going — 16:9, 9:16, square, muted-autoplay-safe — rather than one file you have to crop yourself.
Revisions as part of the process
Not an add-on. The Kindred Skin piece above went through that loop before anyone else saw it — I cut it, reviewed it against the brief, rejected my own first pass and rebuilt it. The version shown is the second one.
Your product photography stays with you
Most pieces don’t need it. A reference only ever buys identity — the shape and detail of the thing — while the light, the materials and the world all come from the look spec. So unreleased products and embargoed shots generally never have to leave your hands to get the ad made. Where something of yours genuinely is needed, that gets agreed first, in writing, rather than assumed.
Everything this covers
One person, so it’s all the same conversation — and none of it gets quoted separately as an extra.
Product ads & launch films
The core piece — ten to thirty seconds, built around one idea, for a launch or a product page.
Social cuts for every placement
16:9, 9:16, square and 4:5 from one master, cropped to hold the subject rather than blindly centred.
Video editing
Cutting, pacing, speed ramps and assembly — including footage you already have and want made usable.
Colour grading
A deliberate look, applied consistently, so a set of clips reads as one campaign instead of several.
4K delivery
Included where the placement supports it, not billed as an upgrade. Resolution is a delivery setting, not a product.
Motion graphics & kinetic type
Titles, logo animation and typographic pieces built in code — so your exact hex values, tracking and logo geometry come out exact.
Creative refresh
New variants on a schedule, before the current set goes stale. See below — this is the part most people don’t plan for.
New — no case study yetOne ad is not a campaign
Ad platforms stopped rewarding a single polished asset a while ago. Meta dropped its old cap on ads per ad set in 2025 and now steers advertisers toward genuinely different creative — distinct angles and formats, not the same film trimmed four ways. Refresh cadences of a few weeks on Meta, and shorter on TikTok, are widely reported by advertisers — worth treating as a working assumption rather than a published rule.
The practical consequence is unglamorous: creative that runs long enough tends to fade, and the answer is usually new material rather than more spend behind tired material. That is a production problem before it is a media one — and producing a handful of fresh variants a month suits a one-person pipeline, because it is the same brief and the same look, just more of it.
Stated plainly: I haven’t run a refresh programme for a client yet. This is the service described honestly, not a case study. It also only makes sense if you’re already spending on distribution — good creative and enough reach multiply each other, and neither rescues the other. Ask about a schedule and I’ll tell you straight whether it’s worth it at your spend.
Run like a production, not a favour
Research, brief, storyboard, previz, look development, production, post, delivery — eight stages, every project, however small. It’s the reason the work holds up at full screen and the reason nothing gets to delivery unseen.
“…nothing ships on the first pass if it doesn’t hold up.”
Got a product that needs a spot?
Get a quoteNo published price list — every quote is scoped to the actual brief. Ads pair with the page they land on.