Production agency: frames that sell the brand.

Production is not turning the camera on. Creative concept and moodboards, art direction, styling, set build, lighting plan, shooting, editing and colour grading are links in one chain. A frame is won in the planning before the shoot day, not on it.

The technical range of our work is wide. For Starbucks, splash frames with an ice cube frozen mid-air needed a dark studio and synchronised flash; the shape of the liquid is not left to chance, it is rebuilt take after take. For Efes we told the product inside a set table rather than on its own. For San Pellegrino we built the premium position through prop quality: restaurant tables, marble surfaces and fine dining plates.

On the hospitality side we worked with JW Marriott, Holiday Inn and Hotel Caeli. A hotel shoot has to sell atmosphere as much as rooms: the right light at the right hour, a room that does not read as empty, and frames that show the place actually being lived in.

First we list what gets shot. How many products, plates, location frames and videos; the day cannot be planned before that is clear. Then lighting and composition direction come off the moodboard, and prop and styling needs are drawn up.

On the day the order follows the lighting setup, not the product list. Everything that can be shot under the same light is taken together; rebuilding the set for every frame runs the clock out. Food shoots need a separate plan synced with the kitchen, because a plate cannot wait on set.

On delivery we talk about usable frames, not raw ones. A shoot price quoted without selection, retouching and colour grading is incomplete.

Number of shoot days, product and frame count, studio versus location, set and prop needs, the scope of video editing and the number of final images all set the price.

For travel and international shoots, transport and accommodation are written as separate lines. The magazine shoot we produced in Cyprus for Efes ran on that basis.

The cost gap between building a studio for a single frame and taking forty frames in the same day is large. That is why we recommend a scheduled production rhythm rather than one-off shoots for brands with ongoing content needs.