A commercial has one job. Everything in the frame serves it.
Most product video is a montage of good-looking shots with a logo at the end. It looks fine and sells nothing. We start from the decision the viewer has to make — try the food, book the delivery, buy the piece — and build the spot backwards from it: what has to be shown, in what order, and how long we have before they scroll.
Every spot below was delivered in the formats it actually runs in — horizontal for the site and broadcast, vertical for feed — cut from the same shoot day.
Healthy food that looks worth eating.
Shape Lovers has delivered portion-controlled meals and gourmet deli across Dade and Broward since 1984, and their whole argument is that eating well is not the same as eating bland. So the spot is shot like restaurant food, not diet food: the sear in the pan, the open flame, real heat and real steam.
Tasty, healthy, fresh, affordable — four claims, and each one gets a shot that proves it. Delivered horizontal for the site and vertical for the paid social that drives the subscriptions.
When the personality is the product.
Jill Zarin's audience follows her, not a catalogue — so the piece is built around her at home, in her own kitchen, talking the way she talks on camera. The product appears inside the story instead of interrupting it.
Shot to feel unstaged while still being lit and framed properly: available-light look, clean audio, and a cut paced for a feed where the first two seconds decide everything.
Selling an ingredient list you cannot see.
Natural cosmetics have a hard problem: the reason to buy is what is not in the bottle. A pack shot cannot carry that. So the spot goes macro on skin and water — texture, droplets, absorption — and lets hand-lettered type deliver the claims only words can make.
Made in Spanish for a Chilean audience and structured so the same footage recuts for any market by swapping the type layer. No reshoot to change language.
One cabinet, four finishes, no ambiguity.
Furniture gets returned when the buyer misreads the finish or the scale. This spot removes both doubts: a presenter walks the piece in a real room, opens every door and drawer, and each of the four reclaimed-wood finishes is shown in the same light so they can actually be compared.
Built for a product page rather than a brand reel — the questions a customer would ask a salesperson, answered in order, in under a minute.
Selling a travel agency with the sport it flies for.
Fly Polo moves players, grooms, families and horses between Argentina, England, France, Spain, the US and Dubai. An agency ad would have shown a plane. This one shows the season — the speed on the field the travel exists to serve — and lets the service line land at the end.
Cut from four years of polo coverage shot for USPA Global, so the spot didn't need a shoot day: the footage already existed, at the level the client's audience recognises.
Luxury golf, on the course it's made for.
A studio would have shown the garments. It wouldn't have shown the fabric moving through a swing or holding its shape in Florida humidity. We shot the campaign on course with real players — brand film plus stills from the same days for ecommerce and print.
Every format framed on set, not cropped later.
Cropping one master into every format is how brands end up with a face cut in half. Here the horizontal spot, the vertical cut and the stills were each framed for where they'd run — so the frames on eyes and product hold on a landing page, in a feed and on a shelf card alike.
Concept first, then the camera.
You approve the idea and the shot list before anything is booked — and every format your channels need comes out of one shoot day, not three.
The claim
What must the viewer believe by the end? One sentence. Everything in the spot either proves it or gets cut.
Treatment & shot list
Written, priced and approved before booking — including which formats get framed on the day.
Shoot
Cinema cameras, controlled light, food and product handled properly. Horizontal and vertical framed as separate setups.
Post & delivery
Colour, sound design, licensed music, titles in any language — delivered in every aspect ratio you run.
Commercials — frequent questions
See all questions →How much does a commercial cost?
It depends on scope: crew, cast, locations, styling and how many final versions you need. We define the deliverables with you first and the quote follows, fixed and in writing.
Do you handle casting, location and styling?
Yes. We produce the full shoot — casting, location scouting, styling and permits — or plug into a team the brand already has.
Can we shoot the commercial and the product stills in one day?
Often yes, and it is usually the most efficient way to do it. We plan the day so the stills and the motion share the same set and lighting.
Do you deliver versions for Meta, TikTok and YouTube?
Yes. We deliver 16:9, 9:16 and 1:1 cuts built for each platform, with the opening seconds edited to hold attention in feed.
Who owns the finished commercial?
Commercial usage is defined in the contract for each project, together with the channels and the term agreed before the shoot.
Tell us what the spot has to sell.
The product, the audience and where it runs is enough to start. We come back with a concept, a scope and a number — usually within two business days.