How this works, and what it costs.
This page is about motion — the prices are below and so is the reasoning behind them, including the question most people want to ask about how the work is made and do not. Websites and branding each carry their own pricing and scope on their own pages. If what you need is not covered here, ask me and I will give you a real number.
Which length should I take?
Five seconds holds one idea: one product, one look, one moment. It 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 rather than a moment, 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 through 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. Ask for a timeline against your actual job and you will get a specific one.
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. How many rounds you get depends on the length you take: one at five seconds, three at ten, and as many as it takes at fifteen. In practice 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 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 in this process, not the director.
So, plainly: the films on this site were produced with AI video models rather than shot on a set — no camera, no crew — and I would rather tell you that than have you work it out. If you want to know exactly 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 whatsoever. It is up there because a brand everybody already knows is the hardest possible 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. If your own brand has trade marks you would rather I did not use in a test, say so and I never will.
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 sitting 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 — if a generated shot would show your product doing something it does not actually do, I will not make that shot, whichever route we take.
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, the revision rounds are what they are for — and at fifteen seconds that is as many as it takes.
Why is it this cheap?
Two reasons, and neither of them is that there is less in it. The first is that generation replaces the shoot — the crew, the studio, the kit and the day rate are the part that used to cost thousands, and that part is gone. The second is that I am early, and 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, and fifteen seconds is £250. Paid once, with no retainer, no monthly fee and nothing that expires. Those are my prices while I build up a body of client work, and they go up once it is built — I am early, and finished jobs I can show people are worth more to me right now than the difference.
Those 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. The only things that move with the price are the running time and how many rounds of changes come with it.
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 — tell me what you have and you will get one.
Anything not covered here?
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