Two years of channel content, shot inside the projects
An ongoing content programme for an interior design studio's own channels — long-form films for YouTube, vertical cuts for social, and short repurposed pieces from the same shoot days.
Every film in this body of work
What we make
The brief
A design studio publishing to its own audience needs what a broadcaster needs and almost never has: enough material, on a schedule, in the formats each place actually wants. The work here was the whole content operation — turn up at the projects, shoot the day, and come away with a long film, a set of verticals and a run of shorts from the same few hours.
What we ran
Eight shoot days in the 2023 season alone, from mid-June to mid-October. Almost all of it inside live interior design projects, which is the constraint that shapes everything: you are filming somebody's home or somebody's build, the room is the product, and you cannot relight it into something it is not. The camera works with the space and the daylight it has, and the schedule bends around a working site rather than the other way round. Doing that repeatedly for two years is a different discipline from doing it once — the look has to match across films shot months apart in unrelated buildings.
Post
Post is where the economics of this actually live, and it is why the delivery folders are organised by shoot day and then split three ways — Reels, YouTube, Minis. One day on location becomes a long-form film, a set of vertical cuts and a run of short repurposed pieces, which is how a small studio sustains a publishing schedule without shooting every week. The long films were versioned properly rather than delivered and forgotten: the two-part property tour went to a fifth cut. By the autumn of 2023 the numbered delivery sequence had passed eighty-seven items.
Scope
Deliverables
Result
Six of these are published here and thirty-one minutes long between them, which is the part a visitor can watch. The measure of the job is the other number: eight shoot days booked across a single season, then another, on a programme that ran for two years. Content operations end quietly when they stop being worth it. This one kept being commissioned.
The creative stays yours. The production becomes ours.
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