Formats
Six ways to tell one subject.
A format is not packaging. It is a decision about proximity, pace and burden of proof. We choose it only once the subject is understood.
Documentary
The long line.
The documentary is our most demanding format because it makes time visible: developments, contradictions, people who change as the story unfolds. We build it around a thesis that can bear weight — and around characters who put that thesis to the test.
Editorially, every long form starts with a material phase: sources, access, locations, legal review. Only then do we write a treatment that fixes strands, chapters and stakes. We shoot observationally and edit against our own favourite version.
Suited to subjects that can hold more than one perspective: industries in transition, scientific controversy, company histories with fractures.
Typical length
24–90 minutes
Distribution
Television, streaming, festivals, broadcaster platforms
Studio interview
The controlled conversation.
A studio interview is not a podcast with cameras. It is a dramaturgically led conversation whose substance is created before recording: in the research, the briefing and a question list we test against the likely answers before anyone asks them.
Our setup is deliberately calm: clear lighting, controlled sound, several camera axes for the edit. The editorial desk sits in on the recording and intervenes when an answer evades.
Suited to leadership subjects, expert discourse and series that open up a field across several episodes.
Typical length
8–45 minutes, series-ready
Distribution
Television, YouTube, publisher environments, audio re-use
Reportage
Close, not entangled.
Reportage lives off place. We go where a subject physically happens — factory floors, laboratories, supply chains, administrations — and let the situation tell the story rather than asserting it.
Editorially that means short lead times and heavy preparation. We settle access, personality rights and safety in advance, and keep the question open enough for reality to correct it.
Suited to current events, process stories and subjects that need to be proven in pictures.
Typical length
5–20 minutes
Distribution
Television magazines, business media, owned media
Brand & corporate film
A brand that carries proof.
A brand film with editorial ambition avoids claims it cannot show. We look for the true core of a company — a procedure, a decision, a person — and build the film around that core.
The process follows journalistic logic: research inside the company, conversations beyond the marketing department, fact-checking before the shoot. Whatever shines at the end had to be true first.
Suited to positioning, recruiting, trade fairs and campaigns meant to outlast a single season.
Typical length
30 seconds to 5 minutes
Distribution
Television, paid social, website, trade fairs, sales
Social video
Short, but not small.
Vertical formats force precision: the point lands in the first two seconds or not at all. We therefore treat them as work in their own right, not as offcuts of a longer film.
Editorially we build series rather than one-offs: one question, several episodes, a recognisable design. That creates reach without diluting substance.
Suited to setting an agenda, employer branding and extending major productions into the feed.
Typical length
10–90 seconds, serial
Distribution
Instagram, TikTok, LinkedIn, YouTube Shorts
Audio, podcast & radio
Telling without pictures.
Audio is the most honest format: with no image, the narrative carries everything. We use it for subjects that need time and nuance — and for audiences who listen while doing something else, yet listen closely.
The editorial work barely differs from film: research, finding protagonists, structure, fact-checking. What is added is a particular care for sound, rhythm and silence.
Suited to interview series, narrative series and contributions for radio and streaming.
Typical length
3–45 minutes
Distribution
Radio, podcast platforms, streaming audio