DM MEDIA GLOBAL

What you actually receive

Services are easy to describe and hard to judge, so this page describes them by what arrives: the documents, the files, the accounts, the access. Where a deliverable is a document, we say roughly how long it is.

Six services

The four kinds of work on the home page, set out here as the six things you can actually buy.

Prices are quoted per engagement after the first conversation, because the same word — "a launch" — covers two weeks of work and six months of it. You get the number in writing, with the scope it covers and what would change it, before anything is agreed. Where a job needs an outside specialist for a day — a camera operator, an editor — that person is named in the quote and shown as a separate line in the cost, so you always know who touched the work.

Content and production

What it is

The material your audience actually sees: written and visual content, the pieces that have to carry a position, and the practical organising around a shoot or an appearance when something has to be made on a specific day.

What you receive

  • Written content: the page copy, the captions, the emails, and the longer pieces that have to say what you stand for without a picture doing the work.
  • Visual content produced in every format and ratio it actually needs, made as originals rather than crops of one another.
  • Production support around a shoot or an appearance: the schedule, the location, the people booked, and a shot list built backwards from what has to exist afterwards.
  • The material back sorted and named, in folders somebody else could navigate.
  • Source files at the end, without having to ask.

How it runs

Content is made against the plan, not against taste. Every piece has its job written next to it — who it addresses, the moment it interrupts, the action it asks for — and that is the standard it gets reviewed against, including when we are the ones who like it. You get versions, not one precious option. Rounds of revision are finite and stated in advance, because unlimited revision is a way of never deciding. On a shoot day we plan backwards: the month needs these twelve pieces, so the day needs these setups, so the call time is this. Afterwards the material comes back sorted, not dumped in a folder.

Design and applied identity

What it is

The applied side of a visual identity: the templates, formats and rules that let a brand look like itself in twenty places at once, most of them screens it was never designed for.

What you receive

  • Applied identity: type scale, colour use, layout rules, and templates for the things you publish most often.
  • The recurring formats built as artwork rather than as habits — covers, thumbnails, titles, and the packaging around an offer.
  • The documents you send outward — a proposal, a rate card, a partner deck — set properly rather than typed into a default template.
  • A short set of rules for using all of it after we are gone, written for whoever inherits the files rather than for the person who made them.
  • Editable source files, in formats that open in more than one program.

How it runs

We start from where the work is actually seen, which is a phone held at arm's length, and design outwards from there. A system that only holds together in the hands of the person who drew it is not a system, so the rules are written to be followed by somebody else — including you, at eleven at night, with the wrong app open. Nothing is delivered as a flattened export. If you already have an identity and it works, we apply it rather than replace it, and we will say so instead of quietly redrawing it.

Websites and digital presence

What it is

Building and running the site everything else points at, and the connected pieces around it: landing pages, forms, the mailing list, and the plain reporting that comes back out of them.

What you receive

  • A site on your domain, with the files and the access in your hands.
  • One clear action per page, and forms that arrive in an inbox you control.
  • A mailing list set up and connected, so the part of the audience you own is somewhere you can actually write to.
  • Reporting set up so you can see where people arrived from and what they did next, without needing us to interpret it.
  • A written map of what is set up where, so the next person to touch it does not have to guess.

How it runs

We start from what has to happen on the page, not from a template. Pages are built to be fast on a phone with a weak connection, because that is where nearly everyone is. The site is built to be handed over: you can publish a page without us, and nothing about it is locked to a tool only we can log into. We run it after launch — changes, new pages, fixes — and we keep a log of what changed and when. If you already have a site and it works, we will say so and we will not rebuild it.

Positioning and messaging

What it is

Deciding what you are selling and how you say it, then making it consistent everywhere it appears: the site, the profiles, the emails, the packaging around an offer, and the way you answer a question in public.

What you receive

  • A written position: what you are, who it is for, what you are consciously not, and what makes it hard to swap you for the next person doing something similar.
  • A message set — the sentences themselves, ready to use, in a short version, a long version, and a version for people who have never heard of you.
  • The objections a buyer will raise, and the answer to each.
  • Where you communicate to a wider public, a plain plan for what gets said, by whom, in what order.

How it runs

It starts with a conversation and a lot of reading, and it ends with sentences you can say out loud without wincing. A position that only works in a document is not a position, so we test the wording in public, on the things you actually publish, and rewrite whatever does not survive contact with a buyer. It is the least expensive thing on this page and the one with the widest consequences, because every other service repeats whatever it decides.

Audience and market research

What it is

Finding out what is actually true about your audience and your market before anything expensive is committed to a guess. This can be bought on its own, with no project attached and no obligation to start one.

What you receive

  • A written report: who the addressable audience appears to be in demographic and behavioural terms, what they already spend money on, who else is selling to them and at what price, and what the going rate is for what you want to charge.
  • Where the unclaimed ground is, and what all of it means for the plan.
  • Sources named. Where something is an estimate, it is labelled as an estimate, and where we could not find something out, we say so.

How it runs

We use the data you already own first, because your own numbers are the least speculative thing available, then add platform data, competitor pricing and direct conversations with your audience where that is possible. It is the least glamorous item on this page and the cheapest way to avoid an expensive quarter. Research that pretends to certainty is worse than no research.

The business behind the audience

What it is

Organising the commercial machine behind the attention: what gets sold, how an enquiry becomes a payment, who does what, and which parts should stop depending on you.

What you receive

  • A map of the current path from first contact to money, with every point where it breaks marked on it.
  • A recommended structure: the offers, the prices, the order they are sold in, and what happens after someone buys.
  • A short list of the tools and steps required to get there, in the order to do them in.

How it runs

We look at what actually happens rather than at what is supposed to happen, including the parts that live in your phone. Then we cut steps. Most of this work is removal: fewer offers, fewer manual steps, fewer decisions only you can make. Anyone can add another channel, another format, another line in the plan. Subtracting is harder, and it is usually where the return is hiding. We recommend, you decide, and we implement the parts that are ours.

Questions people ask before writing

The questions that actually arrive, answered at the length they deserve. The first one is open.

How does this start?

You write to us with two paragraphs: what you have built, and what you want to be true in six months. We reply within two working days, either with questions or with a straight answer about whether we are useful. If it looks like a fit, we have one call, about forty-five minutes, no presentation. After that you get a written scope and a price. Nothing is signed before you have both in front of you.

What does it cost to start a conversation?

Nothing. The first exchange and the first call are free and carry no obligation, and they include an honest opinion about whether you should hire anyone at all. After that, work is quoted per project or as a monthly scope, priced on what the work actually takes — the hours, the amount of material to be produced, the number of surfaces it has to hold up on. You get the number in writing, with the scope it covers and what would change it, before any commitment. We do not publish a price list, and we would rather admit that than invent one.

Who owns the accounts, the content and the site?

You do, all of it, from the first day. Publishing and analytics accounts are opened inside your own business account and we are added as a user, which means you can remove our access in a minute without anything breaking. The domain and hosting are registered to you. Source files, audience data and every document we write are yours as part of the work, not as a favour at the end. A studio that holds a client's accounts is describing its own confidence in the work.

How long before anything happens?

The written read arrives in week one and the plan in week two. Building the site, the templates and the first run of material takes one to three weeks depending on how much has to be made, so work starts going out in the fourth or fifth week. What it produces is a separate question: the first results tell you what to change, and a fair judgement on a channel takes six to eight weeks of consistent work. Anyone who promises you a result by a date is promising the timing of something they do not control.

Who will I be dealing with?

Your brief stays where it lands. There is no account layer between you and the execution, no handover to people you never meet, and no meeting whose purpose is to relay what you said to somebody else. When you ask why something changed on Tuesday, you are asking whoever changed it. The studio is based in Bucharest and works remotely, in Romania and outside it, in English or Romanian — plans, reports and finished work in whichever you prefer.

How do you report?

A written note every week: what went out, what came back, what we changed, why, and what we need from you. A longer monthly review that reaches a decision — continue, adjust, or stop. Both are written for the person paying rather than for another studio; if a sentence needs a glossary, it is a badly written sentence. Between reports you can look at the live accounts yourself, because they are yours. A dashboard is available if you want one, but we do not count a dashboard as reporting: a dashboard is data, and a report is an opinion about data with a name attached.

What do you need from me?

Access to the accounts, honest numbers including the bad ones, one person who can approve things, and roughly two hours a week during the build. Yourself in front of a camera, if you are the one who appears in the work. That is genuinely most of it. The arrangement that gets least out of us is the one where the person paying is too busy to say no to a bad idea.

What will you not take on?

Buying followers, engagement or reviews. Claims we cannot support with something verifiable. Briefs whose only stated goal is going viral. Launches built around an offer that is not ready — we will say it is not ready and tell you why. Work outside what we do properly, which is the list on this page; we will point you elsewhere rather than learn at your expense. Any arrangement where we would hold your accounts rather than use them. And any brief where the person paying and the person deciding are different people who have not spoken to each other.

What happens if we stop working together?

You tell us, we finish or safely stop whatever is running, and we hand over: our access removed, a written list of everything live and where it lives, and the files delivered. There is no lock-in beyond the term in the contract, and nothing is withheld over a final invoice. We would rather be left on good terms than kept on bad ones.

Not sure which of these you need?

Describing a symptom rather than a service is the right way round. Name the symptom — the launch that fell flat, the site nobody finishes reading, the audience that grew without the revenue following — and the first conversation will work out which of these it belongs to. That conversation is free.

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