ALL-RATIO CAMPAIGN PACKAGES
Every ratio, every duration, named so nothing gets mixed up.
Most campaigns get produced in one shape and then mangled into the rest. A 16:9 film is auto-cropped to vertical, the product leaves frame, the logo sits under a caption bar, and nobody notices until the flight is already live. This page is the fix: every ratio and duration planned up front and built deliberately instead of salvaged afterwards.
A package is 16:9, 9:16, 4:5, 1:1 and 2:1, each reframed shot by shot rather than centre-cropped, plus a duration ladder at 30, 15 and 6 seconds where every cut still carries the hook and the product moment. Masters stay with you, so a ratio added three months later is an export rather than a reproduction.
The other half is handover discipline. Files named so nobody has to open one to identify it, a manifest listing every asset with its placement and specs, and a safe-zone pass per platform. Forty files with no system is how the wrong cut ends up live in the wrong market. That failure is entirely avoidable, so I remove it.
WHAT I DO
- Delivery matrix — the full grid of ratios, durations and placements agreed before production, so frames get composed for all of them at once.
- Native 16:9, 9:16, 4:5, 1:1 and 2:1 versions, reframed shot by shot with the subject held in frame instead of left to a platform crop.
- Duration ladder — 30, 15 and 6 second cuts where each one still opens on the hook and still reaches the product moment.
- Masters and web files — a high-bitrate or ProRes master per ratio for archive and re-edits, plus H.264 MP4s at platform bitrates, stills as JPG and PNG with transparency.
- A file naming convention (brand_product_angle_ratio_duration_version) so your buyer never opens a file to find out what it is.
- A one-page manifest: every file, where it runs, its specs, and which placement it was built for.
- Safe-zone check per placement — nothing important under a caption bar, a profile overlay or a CTA button.
HOW I WORK
- 01
MATRIX
Every placement gets listed before production starts, because retrofitting a ratio afterwards is what produces cropped logos.
- 02
COMPOSE
Frames are built with the widest and the tightest ratio in mind simultaneously, so the vertical is never an afterthought.
- 03
REFRAME
Each shot is reframed by hand per ratio, with subject and motion tracked through the cut rather than one auto-crop applied to everything.
- 04
PACKAGE
Export, name, check safe zones, then hand over one folder with the manifest sitting at the top of it.
BEST FOR
- Campaigns running on more than two platforms in the same flight.
- Brands where a media buyer, a web build and a retail partner all need the same campaign in different shapes.
- Anyone who has already lost a product from frame to a platform auto-crop and does not want it twice.
- Handovers to an external buyer who should understand the whole set without a briefing call.
NOT THIS
- Not new creative. This is the delivery layer for work already produced — concepts, films, stills and ad units are the sibling pages under this service.
- Not trafficking. I do not upload assets into your Ads Manager, build campaign structures or set placements live.
- Not an asset-management build. You get a clean folder and a manifest, not a media library platform to maintain.
THE PROOF
Published case studies from ai commercial production work. Each one names the client and shows what was delivered.
STRAIGHT ANSWERS
REST OF AI COMMERCIAL PRODUCTION
MAKE A
WISH.
Tell me what you're building. I'll tell you how loud it can get.
- /01
YOU WRITE
Tell me what you're building and what's in the way. Two lines is enough.
- /02
WE TALK
A 30-minute call, booked within 7 days. Real questions, no pitch theatre.
- /03
YOU GET A PLAN
Scope, timeline and an honest number, usually within a week.