Budget first.
Better work.

Do I need an exact budget before I contact you?

No. A realistic range is enough, and it does not have to be approved or final. What we need is the neighborhood, because that decides the scope, the crew and the approach we recommend. If you are starting from nothing, the ranges on this page are a sensible place to start.

What if I genuinely don't know what this should cost?

That is normal, and it is most of the reason this page exists. Most marketing teams commission a production like this once every few years. Start from the ranges above, work out what your organization could approve rather than what the work might cost, and bring that. We would rather talk to someone with a rough ceiling than someone with a precise guess at our pricing.

Will you just spend whatever number I give you?

No, and this is the fear that keeps most people quiet. A budget is a constraint we design against, not a target we fill. Knowing it early means we put the money where it shows on screen and cut the things that do not, instead of building something you cannot afford and then dismantling it.

What if my budget is below your ranges?

Tell us anyway. Not every project needs a full campaign structure, and we build leaner teams around focused scopes. If it is genuinely too small for us to do well, we will say so on the first call and point you somewhere better. That is a faster and more useful answer than a proposal nobody can sign.

Why does talent usage cost so much?

Because you are buying the right to keep using someone's face, and the length of that right is what you are paying for. Buying usage in perpetuity costs significantly more than a defined term, and it is the most common reason a budget moves late in a conversation. We itemize it separately and usually offer a term option alongside perpetuity so you can see the difference and choose.

Can we use a well-known song?

Usually not on a normal marketing budget. Licensing a recognizable track can run into six figures on its own, more than the production around it. For most projects we use high-quality library music or commission an original piece, both of which are a fraction of the cost and clear for the usage you need.

Can you work to a fixed budget?

Yes, and it is our preferred way to work. Give us the number and we will tell you honestly what it buys, including when it does not buy what you are describing. Three options on every proposal is our standard, so you see what changes as the number moves.

Do you charge for the creative concept?

Creative development is part of the engagement, not a free pitch. We will talk approach, scope and direction on a first call, and that conversation costs nothing. Developing the actual creative, the concept, the script and the treatment, is the expensive part of what we do and it begins once there is a signed agreement. That is not us being precious, it is where the real work starts.

What do you actually need from me on a first call?

What the work has to achieve, when you need it, and a budget range. That is enough to come back with a plan. Anything else, the brand guidelines, the stakeholders, the existing assets, we can gather as we go.

How long does a project take?

It depends on scope, but most of our work runs weeks rather than days, and the schedule is shaped by the same things that shape the budget. Timeline is itself a cost driver: a compressed turnaround usually means a bigger crew or more post capacity, which shows up in the number.

Do you handle media buying or running the campaign?

No. We develop the creative and produce the assets. Your team or your agency deploys them and buys the media. It keeps us focused on the part we are good at.

What is the smallest project you take on?

It depends on the discipline. Standalone photography and animation both start around $15,000, and most motion work around $50,000. Below those we are usually the wrong partner, and we will tell you early rather than stretch to fit.