Most of our university work is repeat work with the same teams over several years.

Prospective students want to see themselves in the place. Alumni and donors want to see impact. Funders and government want evidence. Staff want to be represented fairly. Most universities commission for each of them one at a time, from whoever is free. We plan them as one system, so every piece sounds like the same institution.

Most university briefs end with a list of deliverables. We start with the job the content needs to do: recruit, prove impact, explain the complex, record a moment, or keep your channels full. Each job has a format, refined over nearly a decade of making this work, with its own process, review rounds and published investment range.

Formats also combine, and each one scales within its range to fit the budget you have. A Flagship launch can supply a term’s worth of social content. A Documentary can become an annual series. Planned together, one production can serve several audiences at once.

That’s what our first call is for. We’ll listen to your audience, objective and channels, then recommend a format. We’ll honestly share our recommendation and the investment required, or if a smaller first step would serve you better.

A crew shoots what it’s briefed to shoot, and for some jobs that’s the right service. But a crew is rarely still involved three projects later.

Tone, quality and message drift. Institutional knowledge gets rebuilt every time, from brand guidelines to who actually signs things off. And your team spends as long managing suppliers as making decisions.

We stay. We carry what we know about your institution from project to project, and we’ll tell you when a brief or a budget won’t do the job it’s meant to do.

The things that stop university projects starting are production problems, and production problems have solutions.

• Restricted access. At the Centre for Virus Research, lab space was limited and there was little existing footage. We coached staff to deliver to camera in short sections, so no teleprompters were needed in tight labs.

• Contributors who aren’t performers. On Unseen Hands we ran on camera confidence workshops with researchers before filming anything. We then built everything around one clear structure, the journey of a blood sample, so every contributor knew their part.

• Research you can’t film. The Living Lab science sat at molecular scale, so custom animation carried what no camera could reach, with filmed material telling the human story.

• Scheduling. We plan around confirmed elements: script/questions approved, contributors named, access confirmed. Simple planning and trusted systems are how our university projects land on time.

Standard on every university project:

• Single and secondary points of contact on our team and yours for direction and approval.

• Structured review rounds through our online review system.

• Captions and subtitles as standard.

• Consent and safeguarding for every contributor.

• Purchase orders and supplier onboarding.

• Crew are first aid trained, production is risk assessed and insured

• We’re a Living Wage Employer, Cyber Essentials and fully insured for your peace of mind.