Which length should I take?
Five seconds holds one idea: one product, one look, one moment. That is the right size for a product-page loop, a story ad or a teaser, and it is not a compromise, a lot of the best advertising is exactly that long. Ten seconds is the first length with room for a sequence, so it is the one I point most people at. Fifteen is the full slot a pre-roll or a paid social placement will take, and it earns its price on the extra shots and unlimited changes rather than the extra five seconds.
If you are unsure, tell me the idea and where it is going to run and I will tell you which one it should be, including when the answer is the cheaper one.
How long does it take?
A few days from the point the brief is locked and I have what I need from you, which is the part that varies most because it is the part that depends on you. I will commit to a date against your brief rather than give you a range.
What do you need from me?
What the product is, who it is for, where the ad is going to run, and any wording that has to appear on screen exactly. If you have brand assets (a logo, hex values, a typeface) send those too, because matching them is free and guessing at them is not.
What you usually do not need to send is product photography. A reference only ever buys identity, the shape and detail of the thing, while the light, the materials and the world all come from the look spec. So unreleased products and embargoed shots normally never have to leave your hands. If something of yours genuinely is needed, we agree that first and in writing.
How do changes work?
They are part of the job, not an extra. One round at five seconds, three at ten, as many as it takes at fifteen. Most of the moving happens early, at the look stage, before anything is produced. That is the cheap end of the process to change your mind at, and the point where I will push you to be fussy.
What happens after delivery?
Nothing, and that is the point. You have paid once, you have the files, and there is no retainer, no licence to renew and nothing that expires. Use the ad wherever you like for as long as you like. If you want another one later, that is another one-off at the same prices.
Can you cut footage I already have?
Yes. Editing, pacing, speed ramps and grading of existing material is part of what I do. That one does not price by the second, because ten seconds cut from four hours of footage is a completely different job from ten seconds cut from ten clips. Send me what you have and I will give you a real number for it.
How it gets made
The questions people are too polite to ask, answered before you have to.
Is this AI?
The pictures are generated. The decisions are not. The idea, the brief, the look spec, the shot design, which takes survive, and the cut and grade in DaVinci Resolve are mine, and I am answerable for every one of them. Generation is the camera here, not the director.
Plainly: the films on this site were produced with AI video models rather than shot on a set, no camera and no crew, and I would rather tell you that than have you work it out. If you want to know how any piece here was made, ask and you will get it stage by stage.
Did you actually make an ad for Pepsi?
No. The Pepsi Max film on the Work page is a spec test. PepsiCo did not commission it, brief it, pay for it, approve it or see it, it has never run as advertising, and I have no connection to the company. It is up there because a brand everybody already knows is the hardest test of whether the pack, the light and the cut hold up. With an invented brand nobody can tell you the bottle is wrong.
PEPSI, PEPSI MAX and the Pepsi Globe are registered trade marks of PepsiCo, Inc. Nothing about that piece implies sponsorship or endorsement, and it comes down on request.
What if it has to match my brand exactly?
Then it gets built frame by frame in code rather than generated, and your hex values, tracking and logo geometry come out right rather than approximately right. That is the route for logo animation, kinetic type, a brand system or a UI, and it costs the same.
Where it does not work is photoreal: a real product in a real-looking world, a material doing something, a scene you would otherwise have to build and light. That is generated, and there is no code route to it. Describe the piece and I will tell you which one it wants before you commit to anything.
Can I use it in paid advertising?
Yes. You own the finished piece outright and there is no licence to renew. Two things worth knowing. Some platforms ask you to disclose AI-generated or digitally altered content in certain categories, and the rules move, so check the ones you are running on. And an ad still has to be truthful, so if a shot would show your product doing something it does not actually do, I will not make that shot.
Do I own it at the end?
Yes, completely. You get the master and every placement cut, and they are yours to use however and wherever you like, for as long as you like. You are not renting anything from me and there is nothing to keep paying for.
What if I do not like it?
You should never get that far, because the process is built to stop it. You approve a photoreal still of every scene before anything is produced, so by the time the ad exists you have already seen what it looks like. If it still misses, that is what the revision rounds are for, and at fifteen seconds that is as many as it takes.
Why is it this cheap?
Two reasons, and neither is that there is less in it. Generation replaces the shoot, and the crew, the studio, the kit and the day rate are the part that used to cost thousands. And I am early, so a body of finished client work is worth more to me right now than the difference. These are my prices while I build that up, and they go up once it is built.
How much does this cost?
Five seconds is £100, ten seconds is £200, fifteen seconds is £250. Paid once, no retainer, no monthly fee, nothing that expires. Those are my prices while I build up a body of client work, and they go up once it is built.
They are prices, not starting prices. The length is the thing you are choosing, and what is included does not change between them: the locked brief, the look sign-off on every scene, the cut and graded master, 4K where the placement supports it, and the 16:9, 9:16, square and 4:5 versions. Only the running time and the number of revision rounds move.
Two jobs sit outside the ladder, because pricing them by the second would be dishonest: cutting footage you already have, and a run of variants. Both get a real number against the actual material, so tell me what you have.
Anything not covered here?
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