HOW A PROJECT RUNS
Discovery first.
Then the film.
Most quotes start with a camera and a day rate. That's
backwards. Until we know what the film has to move and
who it has to move, a shoot day is just an expensive guess.
Typical span
Contact
Starts at
Revisions
3 to 6 weeks, brief to master
One person — me
R34 000
Two rounds, built into the schedule
Step 01
Discovery
A paid diagnostic before anything is shot. We pull apart what the business actually needs this film to do — the audience, the objection it has to dismantle, where it will run, and what "it worked" will look like in numbers rather than compliments.
Output — strategy document, creative direction, defined success measure
Step 02
Script & treatment
The idea written down, in full, before a call sheet exists. Script, shot logic, tone references, locations, cast. You sign off on the film you're going to get — not on a mood board and a hope.
Output — script, visual treatment, shot list, schedule
Step 03
Shoot
Lean crew, deliberate coverage. I direct and operate, which means the person who wrote it is the person framing it — and the person who has to cut it. Nothing gets shot that has no home in the edit.
Output — graded selects within 48 hours of wrap
Step 04
Post
Edit, colour, sound design, motion graphics and subtitles — all in Resolve, all by me. Two review rounds are scheduled in from the start, so feedback is a stage rather than an interruption.
Output — master, platform cutdowns, vertical variants, subtitle files
Step 05
Proof
Six weeks after delivery we look at what the film actually did against the measure we set in step one. If it underperformed, we say so and work out why. That's the only way the next one gets better.
Output — performance read, recommendations for the next round