A finished product ad, in a few days.
Once the brief is locked and I have what I need from you, I work to a few days for an ad, and I will commit to a date against your brief. It is just me on it, so there is nobody to hand it on to and nothing to wait for. You approve what it is going to look like before I produce it, and you get back a finished, graded master.
What it costs
One idea, one product, one look. One round of changes.
A sequence with a beginning and an end. Three rounds of changes.
Full pre-roll length, as many shots as the idea needs. Changes until it is right.
Nothing monthly, nothing to keep paying for after delivery.
These are prices, not starting prices. The length is the thing you are choosing, and everything below is in all three of them. If what you want does not fit any of the three — a longer piece, a set of variants, footage you already have and want cut — tell me and I will give you a real number for it. These are my prices while I build up a body of client work, and they go up once it is built.
Kindred: Renew Facial Serum
15 seconds · 1920×1080 · 24fps · with sound · self-directedA warm stone still life: the amber dropper bottle on sunlit travertine, olive branches, and leaf shadows crossing a bare plaster wall. There is no face and no hands in it, so the product and the light 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. Three more on the Work page.
What you get
The same list at every length. The price changes with the seconds, not with what is in it.
A locked brief before anything is produced
The world, the light, the camera moves, and the exact wording of any on-screen text, all 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, cut and graded
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 wherever it is going: 16:9, 9:16, square and 4:5, cropped to hold the subject rather than blindly centred, and a version that reads with the sound off.
Revisions, as many as the length buys
One round at five seconds, three at ten, and as many as it takes at fifteen. Revisions are part of the job, not an invoice line. 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 usually never have to leave your hands for me to make the ad. If something of yours genuinely is needed, we agree that first and in writing.
What you are actually paying for
Not a prompt. The idea, the brief, the look spec, the shot design, the choice of which takes survive, and the cut and grade in DaVinci Resolve are all mine, and I am answerable for every one of them. That is the part that decides whether the thing is any good, and that part has not changed.
It is also the part that takes the time. Every piece runs through eight stages, and a machine makes pictures at two of them: the stills you sign off at look development, and the shots built to match those stills. The other six — the research, the brief, the storyboard, the previz, the post and the delivery — are decisions and hand work, including retouching frames individually in Photoshop and cutting, retiming and grading the whole thing in DaVinci Resolve. A fifteen-second ad costs £250 instead of several thousand, and days instead of weeks, because of what makes the pictures — not because of what decides them.
Where a piece has to be exact to the pixel — logo animation, kinetic type, a brand system — I build it frame by frame in code instead, so your hex values, tracking and logo geometry come out right rather than approximately right. Describe the piece and I will tell you which route it wants. The FAQ sets out exactly which tools make the pictures, without me making you dig for it.
“Generation is the camera, not the director.”
Everything this covers
One person, so it is all the same conversation, and none of it gets quoted separately as an extra.
Product ads & launch films
The core piece. Five, ten or fifteen seconds, built around one idea, for a launch, a paid slot 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. Quoted against the material rather than by the second.
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 hex values, tracking and logo geometry come out exact.
Variants on a schedule
New pieces before the current set goes stale. See below, because 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. Treat that as a working assumption, because it is not a published rule.
What that means in practice: creative that runs long enough tends to fade, and the answer is usually new material instead of more spend behind tired material. That is a production problem before it is a media one. It is also the honest argument for pricing the way I do — at £100 a piece, five genuinely different five-second ads cost £500, and running five different ideas beats running one idea five times.
I haven’t run a variant programme for a client yet. This is the service described. There is no case study behind it. It also only makes sense if you are already spending on distribution, because good creative and enough reach need each other. Ask about a schedule and I’ll tell you whether it is worth it at your spend.
Run like a production
Research, brief, storyboard, previz, look development, production, post, delivery. Eight stages, every project, however short. It is why the work holds up at full screen and why nothing reaches delivery unseen — including at five seconds, where there is nowhere for a weak shot to hide.
“Eight stages, every project, however short.”
Send me the product and the deadline.
Start a project£100 for five seconds, £200 for ten, £250 for fifteen. Paid once, and that is the whole of it.