Made in house, from the first idea to the final cut. They are all running already — tap the speaker on any of them, because half the work is in the half you can't see.
The same cut twice — once on the edit monitor, once on the roof of a car at Europa Point. That is the whole service in one shot: we make it, then we drive it past the people you actually need.
Our own opener. An arrow through every screen your customer already scrolls past — feeds, papers, phones, numbers — and it doesn't stop until it hits the mark.
A billboard picks one wall and hopes. Thirty seconds on what happens when the screen goes and finds the traffic instead — and what it costs to change the ad on it.
A red door. An aqua park. A gym before anyone else is up. Coffee. A room at night. The Rock through a window. Different trades want completely different looks — half a minute of proving we can hit any of them.
Dough on a board. A barber's clippers. An engine on a stand, sparks off a grinder, the water before anyone is up. Then the same attention turned on a brand and the site it lives on. A cross-section of what actually leaves this office.
A sea scooter run out under the Rock, down through a shoal and along a wreck, then surfaced. Specification, thrust, battery, depth — and a number to ring. A product ad that ends where the sale does.
Plates shot on the Upper Rock, then a creature built, lit and tracked to sit in them as if it had always been there. The long one on this page — it runs all the way to the aeroplane window.
Palms, dust and the sea on one side. The car does the talking until it stops, and then the man who drives it does. Shot on the coast at Marbella and cut for a phone.
A trailer for a film that doesn't exist — animated end to end, with no camera, no crew and no location permit. When the idea is the whole product, this is what we can build around it.
Made for GibSams, the free listening service on the Rock. The cloud everybody here knows becomes the one a person carries alone — at a bus stop, in a supermarket queue, on a balcony at night. It ends on the number, because that is the part that has to stay with you.
A cartoon for the Dolphin Restaurant at Camp Bay, drawn from photographs of the real terrace — same doors, same blue tables, same view off the edge. The staff in it are the people who actually work there. Nothing had to close for a shoot, nobody waited on the weather, and the calamares never went cold between takes.
Our own track, and a visualiser built out of the audio rather than laid over it. The red ring moves on the bass, the blue on the vocal, the gold on everything at once, and the ring of lines around the edge is a real frequency reading, ninety-six bands wide. Nothing is keyframed — when the track drops away, so does the picture.
We'd rather send you the piece that matches your job than bury you in a grid of everybody else's. Tell us the trade and the closest two or three come straight back — and this page grows as the good ones land.
You don't pay three times for the same story told in three shapes. Every ad we make comes off one master.
The full version, built for the screens. Long enough to land, short enough to come round again while the queue is still sitting there.
The same idea with the fat taken out, for feeds and stories where nobody has committed to watching anything yet.
Reframed for a phone held upright — properly reframed, not squashed. The point of the shot survives the crop.
Tell us what you sell and who currently walks straight past it. We'll send you the closest thing we've made to it — and if we haven't made it yet, we'll say so rather than pretend.
+350 5719 1000
Target Advertising