Product Demo and Unboxing Video Shot on the Real Build

We shoot the build, not a reconstruction of it. Apple requires App Store previews to be captured from the app running on a device, so an animated mockup will not clear review, and more usefully it will not survive contact with someone who downloaded on the strength of it. The same rule governs everything else made here: if a screen in the cut cannot be reached in the shipping product, it does not go in the cut. What we capture: Screen recording at the frame rate the app actually runs, on the handsets your own analytics say your users hold rather than the newest device in the studio. A hands-on-device pass with a real thumb and real latency, because the gap between tap and response is the honest part of a demo and removing it is why so many app videos feel like a lie. For physical goods, the box is opened once, on camera, with the tear covered at 120 frames per second, and it is not resealed and reopened for a better angle. There is exactly one first opening and it does not look like the fourth. Product handling is shot in a hand at true scale, since scale is the one thing a marketplace listing photograph cannot convey and video can. How it is cut: The store preview runs to thirty seconds and its first frame is chosen as a poster frame, which is a different decision from choosing a good opening shot and is usually made badly. The vertical feed cut puts the whole promise inside the first two seconds and assumes the sound is off, with captions we set by hand and time to the edit rather than generated and left where they land. A six-second bumper. And a version with the interface enlarged past life size, for the moments where a real phone screen is illegible in feed. Marketplaces get two films: Supply and demand are not one audience. On a hiring marketplace, the employer cut and the candidate cut share a product and almost nothing else: different anxiety, different proof, different first two seconds. We make them as two pieces of work under one identity, and we will argue against the single film that serves both, because that film reliably serves neither. What we refuse: Staged authenticity. A creator making a scripted ad is legitimate work and we produce it, disclosed as advertising. What we will not do is dress a scripted piece as unprompted customer discovery, or take the disclosure out because the version without it performs better. Under Canada's Competition Act a testimonial has to reflect real experience of the product; we treat that as the floor rather than the ceiling. We also will not shoot an app whose core flow is still moving. Give us a frozen build for the shoot week. Filming a flow that changes next sprint means paying for it twice, and we would rather move the date than take that money. Not included: Creator sourcing, casting and contracting, and usage rights negotiation. We write the brief and direct the session; your talent agency or in-house recruiter signs the people. Also excluded: media buying, ongoing variant production, and dubbing. French-Canadian versions are subtitled and re-captioned by us, a full French voice track is quoted separately. Who this is not for: Teams who want a monthly volume of clips. That is a content studio and there are good ones in Toronto and Montreal. This engagement makes a small number of pieces that carry an argument, directed by someone senior enough to tell you, before the shoot, that the product itself is the problem with the demo.