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Services & engagementWhat we can be booked to do
Five categories, three ways to work together, and one principle: send us your proposal and budget and we will tell you honestly what it buys. We would rather review what you have in mind than quote blind against a scope that does not match your campaign.
The review is the product.
Whatever we are filming — a suite, a tasting menu, a pair of trainers — the thing that ties all of it together is that we actually went, we actually tried it, and we say what we think.
Our input. Our highlights. Our honest read. That is the format, and it is the reason the work performs. An audience can tell within two seconds whether someone is describing an experience or reciting a brief, and they behave completely differently depending on the answer.
It also means we will not claim something we did not find. If a dish is exceptional we will say precisely why. If a property has a trade-off, we raise it with you before the shoot rather than editing around it. That is not a moral position — it is the entire commercial value of what you are buying. A recommendation only works if it could have gone the other way.
Three ways brands work with us
Every project is quoted individually. A neighbourhood restaurant and a global brand are not the same job, and we would rather price yours properly than publish a number that fits neither.
Per project
A single shoot with a defined deliverable set. Right for a new dish, a room category, a product drop or a first test of the partnership.
Monthly retainer
Ongoing content at an agreed volume. Predictable cost for you, predictable cadence for your calendar — and a lower rate per piece than booking them separately.
Ambassador
A longer term with category exclusivity. Base retainer plus per-deliverable fee, plus an exclusivity premium defined precisely in writing.
Send us your scope and your budget.
We do not publish a rate card, because a published number is wrong for almost everyone who reads it. A twelve-room guesthouse and an international hotel group are not the same job, and pretending otherwise helps neither of you.
So tell us what you need and what you have allocated. We will tell you what that covers, what it does not, and whether you would get more from spending it a different way. If a project is genuinely outside what we can do well at that number, we will say so rather than quietly under-delivering.
And occasionally — rarely, but it happens — a brand comes along that we would work with regardless. If you think that is you, say so in the brief. We read every one.
What our work looks like, and why
The subject is the subject
The property, the plate or the product owns the frame. We appear when it helps a viewer understand scale, sequence or reaction — not otherwise.
Real light, real hours
We shoot at the hour the light actually happens rather than lighting a room to look like it. That means early calls, and it is why the work does not look staged.
Vertical first
Shot and cut for a phone, then reformatted from the same master. The landscape version is a deliverable, not the master.
Location audio, always
Room tone, service noise, sizzle, crowd. Music sits underneath rather than replacing it, because the room is half of why a place feels like something.
Specific over superlative
"Aged 45 days over binchotan" beats "amazing". Specificity is what makes a recommendation credible and what your team can reuse.
Say the true thing
If a dish is exceptional we say so precisely. If there is a trade-off, we raise it with you before the shoot. Audiences reward accuracy.
The parts nobody quotes for
Written treatment
Shot list, sequence plan, light schedule and styling notes — approved by you before we travel.
Every ratio
9:16, 4:5, 1:1 and 16:9 from one graded master, plus web and full-resolution stills.
Captions and alt text
Caption drafts, hashtag sets and accessibility alt text for every asset.
Releases and disclosure
Talent and property releases collected on site. Paid partnerships disclosed to FTC standard.
A license in writing
A one-page schedule stating channels, territories and dates, attached to every invoice.
Performance report
Reach, engagement, saves and click-through at 30 days, measured against the brief.
How we structure a video
Most short-form video fails in the first three seconds. This is the shape we build to — adapted per brand, never applied like a stencil.
Intro
The hook00:00Three seconds to earn the next thirty. The strongest single frame we have — the dish arriving, the door opening, the view from the balcony. Your name appears here, not at the end.
Scene 1
The setup00:03Where we are and why it matters. Location card, context, first impression. A viewer needs to know what they are looking at before they can care about it.
Scene 2
The substance00:12The reason the place or product is worth someone's time. The technique, the room, the texture, the detail most people walk past. Where your actual work gets shown.
Scene 3
The payoff00:28Reaction and verdict. The moment that makes it feel real rather than staged — honest assessment, which is exactly why the recommendation carries.
Outro
The close00:42A clean landing rather than a fade. Often the widest or quietest frame of the piece, held just long enough to settle.
CTA
One clear next step00:50Book, visit, order, follow. Whatever you actually want, stated once and unmistakably. Agreed in the treatment before we shoot, because a CTA bolted on afterwards always looks bolted on.
Timings are indicative for a sixty-second cut. Longer formats add scenes, product pieces sometimes collapse to three, and a same-week event recap has its own shape entirely. The framework is a starting point we adapt to your brief — it is not a template we drop your brand into.
How we shoot, and why
1080p, deliberately
We deliver 1080p because that is what the platforms actually serve. TikTok, Instagram and YouTube all re-encode uploads and cap short-form playback around 1080p regardless of what you send them. Shooting and mastering at that spec means the frame you approve is the frame a viewer sees — not a 4K master compressed into something softer on the way through.
It also keeps turnaround fast and file handover simple. No 200 GB transfer, no proxy workflow, no waiting three days for a drive. If you need 4K for a website hero or an in-property screen, say so at brief stage and we will shoot that piece for it.
Vertical or horizontal
Both, delivered from the same shoot. Vertical 9:16 for TikTok, Reels and Shorts; horizontal 16:9 for YouTube, your website and in-property screens; 4:5 and 1:1 for feed placements. We frame with the reformat in mind rather than cropping a landscape shot afterwards and hoping.
A small kit, on purpose
We shoot on a DJI Osmo Pocket 3 and iPhone. That is a deliberate choice, not a budget one.
A restaurant will let two people with pocket cameras film through a live service. It will not let a crew with rigs and lights do the same. A hotel will give us a suite at six in the morning without a location agreement. Guests do not change their behaviour around us, so the room still looks like the room.
The access is the product. At 1080p social delivery, the difference between this kit and a cinema camera is invisible to a viewer on a phone — but the difference in what we are allowed to film is enormous.
| Item | Standard |
|---|---|
| Resolution | 1080p, matched to platform delivery |
| Ratios | 9:16 · 4:5 · 1:1 · 16:9 from one master |
| Orientation | Vertical or horizontal, or both |
| Audio | Location sound; lavalier where dialogue matters |
| Stills | Full-resolution masters plus web exports |
| 4K | Available on request for hero and in-property use |
The practical detail
The parts most studios leave vague until there is a disagreement. Here they are up front.
Editing time
Two to seven business days from the last shoot day, depending on the volume and complexity of the content. You get an estimated timeline in writing before we start, not after.
Revisions
One revision round is included in every booking. That covers text and caption changes, clip reordering, trims, pacing, music swaps and colour adjustment.
It does not cover refilming. If a revision needs new footage, that is a new shoot and we will quote it as one — which is exactly why we agree the treatment before anyone travels.
Additional revision rounds start at $150, quoted against the scope of the change.
How long we keep your footage
Project bookings: raw footage is held for 30 days after delivery, then deleted. Download and back up your files within that window.
Retained clients: footage is held for the duration of the contract and for 30 days after it ends.
Archival retention beyond those windows can be arranged — ask before the window closes rather than after.
Payment
Payment is required up front unless otherwise agreed in writing. For larger engagements we will usually split it 50% to confirm the date and 50% on delivery.
Send us the scope and the budget
Tell us what you want made and what you have to spend. We will tell you straight away whether it works, and what it buys.
Timeline in writing, before we start
Shoot date, first-cut date, revision window, delivery date. Agreed before payment, not discovered afterwards.
Made for you, not from a template
We personalise every piece to your brand and your room. The framework is a starting shape — what goes inside it comes from your brief and what we actually find on the day.
Authenticity is the whole point
We will not fake a reaction or claim something we did not experience. That is not a moral position, it is a commercial one: audiences detect it instantly and it costs you the credibility you are paying for.
Five rooms we know well
Hotels & Resorts
Independent hotels, resort groups, boutique properties, villas and all-inclusive destinations.
- Room and suite reveals cut for vertical feeds
- Arrival and property walkthrough films
- Spa, pool, gym and amenity coverage
- On-property restaurants and bars
Restaurants & Bars
Fine dining rooms, steakhouses, omakase counters, neighbourhood openings, bar programmes and packaged F&B.
- Signature dish films — technique, sourcing, plating
- Full menu photography for site, print and delivery platforms
- Chef and kitchen profile pieces
- Bar programme and cocktail build sequences
Experiences & Events
Motorsport, tournaments, theme parks, concerts, festivals, attractions and tourism boards.
- Same-week event coverage and recap films
- Access and behind-the-scenes sequences
- Ticket-driving hero films in vertical and landscape
- Multi-day festival and tournament coverage
Product & Retail
Footwear, apparel, accessories, food and beverage, household and consumer goods.
- Product hero and texture films
- Unboxing and first-use formats
- Still life and flat lay for e-commerce
- Paid social variants and hook-testing sets
Beauty & Wellness
Skincare, K-beauty, cosmetics, personal care, supplements and spa.
- Product hero and texture films
- Routine and application formats
- Multi-week honest review series
- Still life and flat lay for e-commerce
How monthly sponsorship works
A monthly sponsorship — usually called a retainer or an ambassador agreement — means a brand pays a fixed fee each month for an agreed volume of content and, in most cases, category exclusivity. It is the most common long-term structure in creator marketing and it works better for both sides than a string of one-off posts.
What the brand gets
Predictable content volume and predictable cost. A defined number of deliverables per month across agreed platforms, priority in our schedule over project bookings, and a rate that is lower per asset than booking the same volume as separate projects.
What we commit to
A guaranteed monthly cadence, a quarterly planning session so the content ladders to your campaign calendar rather than being made in isolation, and — where exclusivity applies — declining work from directly competing brands for the term.
How exclusivity is priced
Exclusivity is charged as a premium on top of the base retainer, typically 20–40% depending on how broad the category lock is and how long it runs. Being locked out of one competing brand costs less than being locked out of an entire category. We define the scope precisely in writing, because a vague exclusivity clause costs a creator far more than it is ever paid for.
Term and exit
Three months minimum, six or twelve months typical. Either side can exit with 30 days' written notice after the minimum term. Content published during a valid term stays live; licensing for continued use beyond the term is handled as a renewal.
Let's make something worth booking.
Tell us about the property, the menu, the launch or the campaign. Every enquiry gets a reply within two business days with scope and availability.