Commercial video production in Lincoln.

The piece at the top of a homepage, or the one that opens a pitch. It is the most expensive thing on the menu because it is the only deliverable where the writing, the shot list and the grade are all built from nothing for one brand — 15 points, capped at one a month, because a hero film is not something a studio can honestly turn out four of in four weeks.

The two above run 19–20 sec, which is short on purpose: a hero film autoplays muted behind a headline and has to say what a company is before anyone scrolls. Landscape, graded, no burned-in captions, cut so it loops without a visible seam. What it is used for is the top of the site, the top of a deck, and the pinned post.

A-roll: one person, a lavalier mic, a real answer to a real question. Shot vertical because that is where it is watched, with dynamic captions burned in — most of the audience has the sound off. 2 points each, Tier 1, so it is the deliverable a business can afford to run every month rather than once a year.

Concorde’s day produced 6 of them, running 32–58 sec. That length is the useful detail: a 30-second cut is one idea and holds all the way through, while a 58-second cut carries a story and needs a hook in the first two. This is the deliverable that does recruiting work as well as marketing — a prospective hire watching six people describe the job is worth more than any careers-page paragraph.

Not a brand film with a phone number on the end. An ad is built backwards from the action you want: a hook in the first second, one claim, one call to action, and alternate opening frames so the same spend can be tested rather than guessed at.

The published cuts run 39 sec–1:06 — longer than the hero films above, because paid placement is the one context where a viewer has chosen to keep watching and the cut has room to argue. Vertical, captioned, delivered with the hook variations as separate files so nothing has to be re-exported to try a different opening. Marketing and advertising content built for your audience and built to convert.

A 16:9 cut cropped to a phone loses the sides of every frame, and a 9:16 cut letterboxed onto YouTube wastes two thirds of the screen. So the same ad is graded once and then cut twice, reframed shot by shot rather than centre-cropped by an export preset.

The pair above are the same 45 sec ad for a downtown apartment community at 18th and P — one landscape, one vertical, from one shoot. This is not a separate purchase: it comes with the ad, and it is the difference between creative that works on one platform and creative that works everywhere it is placed.

Photography comes off the same day as the video, which is the only reason it is cheap: the lighting is already up and the space is already dressed. Two sizes on the menu. The smaller, at 1 point: 5 edited, color-graded high-res brand/property photos. The larger, at 2 points, for when the set has to cover a website, a press kit and a year of social: 12 edited high-res stills for web, press, and editorial.

Headshots, portraits and personal sessions are not on the menu. The studio shoots them, but the brief varies too much for a fixed point cost, so they are quoted in conversation — tell us what you need photographed and we will price it. Graphic design, thumbnail art and social posting are excluded from every package; what is delivered is the master files.

The deliverable nobody puts on a portfolio and every company past a certain size needs — the menu calls it Corporate training or team communication video clip. Same crew, same lighting, landscape rather than vertical, because it is watched on a laptop during an onboarding week and not on a phone in a feed.

Where the subject will not fit in a clip, the menu carries a long-form horizontal cut instead: 3–5 minute video for YouTube, landing pages, or interviews. That is the same interview footage as Deliverable 02, assembled at length rather than cut down — one shoot day, two very different deliverables.