Record several episodes back to back and walk out with the full show plus the vertical cuts for social. One set-up, one crew, a content calendar that fills itself.
A podcast is not one video. It is a long episode, a trailer, six vertical clips and an audio track — all from the same afternoon.
Your guests come once and you record several episodes in a row. That rhythm is what makes a whole season affordable instead of a series of one-offs.
Every episode ships with its short cuts for LinkedIn, Instagram and TikTok — framed for vertical while shooting, not badly cropped afterwards.
Set, graphics and format are built once. The tenth episode costs a fraction of the first, and we quote the season with a clear per-episode price.
Multi-camera, proper lighting and audio that survives headphones. We scale the same rig we build for broadcast shows down to what your format actually needs.
FIFA asked for a magazine show and we built the studio for it: five broadcast cameras, a slider, Arri Skypanels and a live editing suite at their Zurich headquarters. Two seasons, 36 episodes — and we went from one 40-minute episode every two days to two a day. That is the level we bring to a season, scaled to your format and your budget.
Wherever the show works best: a set we build for you, your own office, or on location. For FIFA we built a full custom set at their Zurich headquarters — five cameras, slider, Arri Skypanels — because the show had to look like the organisation behind it.
Two full-length episodes a day is realistic once the format is set. We started FIFA's series at one 40-minute episode every two days and doubled that as the workflow settled — which is exactly why we plan seasons, not single episodes.
Yes. Graphics and live streaming were fully integrated into the FIFA set-up, so episodes could go out across platforms with a finished look. The same rig works for a live launch, a town hall or a hybrid event.
Yes. Every episode is delivered with its short vertical cuts and subtitles. They are planned before the shoot — framing and pacing for vertical are decided on set, not rescued in the edit.
Four stages with dates agreed before we start: concept and script (1–2 weeks), pre-production — casting, locations, schedule (1 week), the shoot (1–3 days), then edit, grade and sound with a first cut within two weeks of wrapping. You have one contact person the whole way, and every milestone has a date in writing before the first invoice.
You do. The film, the footage and the project files are yours, with no expiry and no renewal fee to us. What does carry a term is what we license from third parties: music, stock and — when we cast professional talent — the usage agreed for their appearance, which is priced by territory and duration under the Swiss SSFV / SzeneSchweiz guidelines. All of that is written into the quote before the shoot, never invoiced afterwards.
Two, and they are in the schedule with dates: one on the first cut, one on the near-final version. In practice what decides whether two is enough is not the number — it is whether one named person signs off. Feedback gathered from a committee contradicts itself and turns one edit into three, which is why we ask who the approver is before the shoot, not after the grade.
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