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What does full campaign production include?

One shoot, one idea, and every asset the campaign needs to run.

What it covers

  • Concept development. One idea that works across every placement, rather than a film with social edits bolted on.
  • Pre-production. Casting, locations, wardrobe, schedule and a PPM covering every deliverable at once.
  • The shoot. Planned so that film, stills and vertical capture happen together rather than sequentially.
  • Post. Hero film, all cutdowns, all ratios, subtitles, versioning and sound.
  • Stills and retouching. Shot on the same days, in the same setups.
  • Delivery. A complete asset library, named and organised by channel.

The asset list

What a properly scoped campaign shoot should produce from two to three days:

  • One hero film at 60 seconds
  • Cutdowns at 30, 15 and 6 seconds
  • Vertical versions of each, framed rather than cropped
  • Square and 4:5 versions for feed placements
  • Six to ten social-native shorts that are not simply cutdowns
  • Thirty to fifty campaign stills across key visuals and detail shots
  • Behind-the-scenes content for owned channels
  • Web assets: hero loops, background plates, banner crops

That is comfortably thirty to fifty assets. Produced separately, it would be three shoots and three pre-production cycles.

Why one shoot

The efficiency is not the crew day. It is everything around it.

Cast once, negotiate usage once, scout once, build the set once, light it once. Every additional shoot repeats all of that, and each repeat also risks a visual mismatch between assets that are supposed to belong to the same campaign.

The requirement is that the asset list exists before the shoot is designed. A vertical version planned in advance is a framing decision. Planned afterwards, it is a crop that loses half the composition.

How to scope it

  1. List every placement the campaign will run in, by channel.
  2. Convert each placement into a format, ratio and run time.
  3. Group them by what can be captured in the same setup.
  4. Count the setups, not the assets. That number drives the schedule.
  5. Add stills capture to each setup rather than treating it separately.
  6. Take that list to quote, and ask what it would cost as separate shoots.

The comparison in step six is usually what settles the decision.

Planning a campaign? Send us the channel plan, even in rough form, and we will build the asset list and scope against it.

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