The position

The creator economy has an odd blind spot. Enormous care goes into the content, and almost none into what happens in the ten seconds after someone decides they want something. The offer is vague, the page is generic, the route from interest to purchase has three unnecessary steps in it. Then the conclusion drawn is that the audience is not buying — when in fact the audience was buying, right up to the moment nobody was there to sell.

So the order is reversed. What is being sold, to whom, at what price, by what route — and only then what should be made and where it should go. It is a duller order of operations than starting with the pictures, and it is the reason a piece of work can be explained afterwards instead of merely celebrated or mourned.

We also think a studio should be legible. Not friendly, not chatty — legible. You should be able to open a document and see what was decided, why, at what cost, and what would change the decision. Most of what we produce is therefore written down, which is unglamorous, and it is the part that is still useful after the work ends.

Working rules

  • No account layer between you and the work.

    There is nobody between you and the execution, and no version of your strategy that exists only in a meeting you were not in.
  • Everything important is written.

    The read, the plan, the weekly note, the monthly review, the scope, the price. Calls are for deciding things, not for recording them. A decision made on a call appears in the next written note.
  • Not two clients competing for the same audience.

    Where a second brief would put us on both sides of the same market, we decline it and say why. The same person cannot argue both cases well, and anyone who finds that out afterwards is right to be angry.
  • The plan states what we are not doing.

    A scope with no exclusions is not a scope.
  • One change at a time.

    Changes are made deliberately and written down, so a result can be traced to a cause.
  • Commercial before decorative.

    This work is judged by whether somebody bought something. We would rather build a plain page that sells than a beautiful one that does not. Usually you can have both. When you cannot, this is the order.
  • We say no in the first conversation, not the third.

    The expensive mistake in this business is not a bad piece of work; it is three months spent on a project that should never have been approved. If a brief sits outside what we do well, that is worth ten free minutes and never worth a contract.
  • A limited number of engagements at a time.

    Capacity is a real constraint, so we plan around it instead of pretending it does not exist. If we are full, we say we are full and tell you when that changes.
  • No claim we cannot support.

    Yours or ours. If a figure cannot be traced back to a source, it does not get published.
  • Outside help is named.

    If a job needs a camera operator, an editor or another specialist, that person is named in the quote and shown as a separate line in the cost. You always know who touched the work and what that part of it cost.

Who does the work

Your brief stays where it lands. We take it, do the research, write the plan, build the work and sign the reports — nothing is handed down a chain, and nothing about your account is outsourced by default. When you write to the address on the Contact page, we are the ones who read it, and you will know exactly who you are working with before the first call ends.

We would rather be judged on the first document you receive than on anything we could say about ourselves: the written read, in week one, which is yours whether or not you continue, and which costs you a conversation to run.

The fastest way to find out if this works

One email is enough. It comes straight to us, and we answer it either way.