The full stories.
Six shoots taken apart from brief to results. The thinking behind the work, not just the work.
What these jobs have in common
Almost none of it was shot with a crew. A phone, a light, a tripod and a room. The Nespresso work was filmed in a shop after hours, the Wren kitchens in real houses with real families in them, and the XPENG cars on a forecourt in the rain. That is usually the job.
Brands come expecting a production. What performs is content that looks like a person telling you about something they actually use, and the moment it looks produced, it stops working. So the constraint is the point rather than a compromise.
How a job runs
You tell me the product and the angle. I send a contract and a script for sign-off before anything is filmed, which protects both of us and means there are no surprises at delivery. Then I shoot, edit, and hand over the files with the usage we agreed written down.
Most jobs turn around inside two weeks. Rush work is possible and costs more, which is the honest answer rather than a hidden one.
What it costs
It depends on how many videos, how long you want to run them as paid ads, and whether you need extra hooks or the raw footage. Paid usage is the part brands most often forget to mention and the part that moves the price most. You can work out a realistic figure yourself with the rate calculator, which uses the same numbers I quote from.
If you would rather just ask, start a project and tell me roughly what you have in mind.