Brand Film for Regulated Categories, Script to Master

A hero film with us runs eight to eleven weeks from approved script to signed broadcast master, and the legal read sits in week two. That scheduling decision is most of what you are buying. In kids, pharma and automotive, films are not killed by the grade. They are killed by a claim that survived to the edit and now has to be cut out of a performance nobody is going to reshoot. What the work is: We write, direct and produce one film and the cutdowns that come off the same setups, shot in Poland with a Polish crew, delivered to the specification the broadcaster or platform accepts without a resubmission. Camera is usually an Alexa 35 on Cooke S4/i when faces carry the film, Venice 2 when the schedule needs a second unit in low light. Finish runs in Resolve Studio: Rec.709 broadcast master, textless master, ProRes 4444 XQ archive, and two separate mixes. EBU R128 at minus 23 LUFS for European broadcast, a minus 14 LUFS pass for YouTube and Meta. One master serving both is wrong in both places. Where these categories bite: Casting a child under sixteen in Poland requires the consent of the Państwowa Inspekcja Pracy for that named production. The application takes calendar time, so we file before the callback rather than after it. Polish pharmaceutical law forbids advertising a medicinal product to the public by reference to a recommendation from a scientist or a publicly known person, which means the ambassador idea has to die at treatment stage rather than at legal review, where it costs a shoot day. Automotive end frames carry consumption and emissions figures at a size and hold duration the broadcaster will measure. None of this is a post problem. It is a boards problem and we solve it on the boards. What we refuse: We do not sell concept decks. If we write it, we shoot it, because a film that exists only as a deck has never been tested against a location, a budget or a lawyer, and selling one is selling the easy half. We do not shoot a script the client's legal team or marketing authorisation holder has not read and marked. We do not take unpaid pitch work. We do not put a child in a spot that asks other children to buy something, which the rules on direct exhortation treat as exactly that, whatever the brief calls it. And we say when an idea needs a different director than ours. Twice last year that meant handing a job to a documentary director in Warsaw who was simply better for it. Who should not hire us: Brands who need a film next month. Brands whose approval chain has more than two named decision-makers and no tiebreaker. Anyone who wants the film to prove a claim the product data does not support, because we will ask for the source, and if there is not one, we will not shoot the line. How it runs: Week one, we interrogate the brief and the claim set. Week two, treatment and first legal pass. Weeks three and four, casting, locations, permits, and for kids work the labour inspectorate filing. Weeks five and six, shoot. Week seven onward, offline, legal on picture lock, online, grade, mix, delivery. You see the film three times: at offline, at picture lock, at final. Each viewing has one decision attached and we ask you to bring the person who can make it. Delivery includes the graded master, the textless, subtitle-ready sidecars, aspect variants cut for their own frame rather than cropped, and the Adstream or Peach package your broadcaster expects.