Services

Fourteen disciplines, one team, and a strong preference for telling you when you do not need us. This page is the full index — every discipline, what it covers, what it costs, and where to go next.

The reason a studio this broad exists is boring and practical: most projects need more than one of these. A site needs a film. The film needs a mix. A product range needs stills, then it needs 3D so the variants do not have to be warehoused and photographed. Every one of those handoffs between two suppliers is a place where a project loses a week and a bit of its coherence.

What we do

Web Design & Development: Websites and web products that load fast, read clearly and hold up under maintenance. Typically from $6,000 – $20,000.
Video Editing & Production: Edits that hold attention — from a single founder interview to a full campaign cutdown set. Typically from $300 – $2,000 per finished piece.
Audio Editing & Production: Dialogue that sounds effortless, mixes that survive phone speakers, and delivery at spec. Typically from $75 – $400 per episode.
Image Editing & Retouching: Cut-outs, retouching, color and composites at volume, with the detail a product page needs. Typically from $0.40 – $2.00 per image.
3D Design & Development: Product visualization, animation and real-time 3D that works in a browser, not just a render. Typically from $150 – $900 per image.
SEO Services: Technical fixes, content structure and measurement that compound into durable visibility. Typically from $2,500 – $12,000 one-off.
Motion Graphics & Animation: Titles, explainers and animated systems that carry a brand through every frame. Typically from $500 – $3,000.
UI & UX Design: Research, flows and interface systems that make the hard parts of a product feel obvious. Typically from $2,000 – $8,000.
Brand & Identity Design: Positioning, naming, identity systems and the guidelines that keep them intact. Typically from $2,500 – $12,000.
E-commerce Development: Storefronts built around the catalog, the checkout and the numbers behind both. Typically from $8,000 – $30,000.
Content Strategy: Editorial systems that turn what a business knows into what a search engine can find. Typically from $5,000 – $25,000.
Photography & Product Visuals: Studio, location and CGI-assisted product imagery, shot for the places it will be used. Typically from $800 – $3,500 per day.
Performance & Accessibility: Core Web Vitals, WCAG conformance and the audit trail that proves both. Typically from $2,500 – $10,000.
Digital Marketing & CRO: Landing pages, lifecycle email and testing that improves the rate, not just the traffic. Typically from $4,000 – $15,000.

The full service tree

Underneath those fourteen headings sits a tree of about sixteen hundred specific services, five levels deep, because "image editing" covers everything from a background removal to a jewelry composite and those are not the same job or the same price. Browse the whole tree, or describe what you need and we will find it for you.

Who this is actually for

Nobody reads about our work for fun. You're here because it's about to cost you time or money, and you'd rather find out now than at the deadline.

Any of those is a fine reason to be here. What follows covers the whole thing: what the work involves, what it costs in the US, how long it takes, what we need from you, and how to tell whether what comes back is any good. Skip to whichever part you need.

When occasional turns into ongoing

There's usually a moment when studio stops being something you handle between other things and starts being a job. It tends to look like this:

The work is landing on someone whose actual job is something else, and their actual job is slipping.
Volume has stopped being occasional and started being weekly.
Quality varies depending on who happened to be free that day.
You are turning down opportunities because production cannot keep up.
The same fix keeps getting made because nobody wrote down how to do it right.
You are paying for software seats that get used a few days a month.

If two or three of those are true, the question isn't really whether to get help. It's whether to hire, to use a freelancer, or to work with a studio — and there's a section further down that lays out the trade-offs honestly, including the cases where hiring us is the wrong answer.

What it costs in the US

Straight to the money. These are typical US market ranges for studio work. They are not a quote, because a quote needs your actual files, but they should tell you whether the number you've been given is in the right postcode.

Typical US market ranges for studio
Type of work	Typical range	What that buys
Small defined job	$300 – $3,000	A single deliverable or a small batch, scoped tightly, fixed price.
Project engagement	$3,000 – $40,000	Multiple deliverables, several stages, a written scope and named revision rounds.
Retained capacity	$2,000 – $20,000 per month	A standing share of the studio reserved for you, for work that is continuous rather than occasional.

Those are wide ranges, and they're wide for a reason. Here's what moves a job from one end to the other.

What actually drives the price

How well the job can be described: A job that can be specified precisely can be priced precisely. Vagueness does not get cheaper, it gets quoted defensively.
Volume, and how repeatable it is: Four hundred similar things cost far less each than four hundred different ones, because the setup amortizes.
Revision rounds: The single most common reason a final invoice differs from a quote. Agree the number, and agree what counts as a revision rather than a new brief.
Turnaround: A rush means somebody working late or a queue being jumped. Both are real costs and we will name the number before you commit.
Number of deliverable versions: One master and six derivatives is seven deliverables. It is the line most often left out of a brief and most often argued about later.
How much of the decision-making sits with us: Executing a settled brief is production. Working out what the brief should be is a different service with a different price.

How the money is usually structured

Separately from how much, there's the question of how. Five models cover almost everything in this industry, and the right one depends on how well the job can be described before it starts.

Per unit: A fixed price per image, per minute, per page, per asset. Best when the work is genuinely repeatable and you can describe one unit precisely. It is the easiest model to budget and the easiest to argue about, because everything hinges on whether your idea of one unit matches ours. Settle that on a sample before you settle it on an invoice.
Hourly or day rate: You buy time, and the output is whatever that time produces. Honest when nobody can scope the job yet — a rescue, an unknown archive, an exploratory phase. Ask for a not-to-exceed number anyway. An open hourly arrangement with no ceiling is a budget with no floor.
Fixed project fee: One number for a defined scope, usually with a stated number of revision rounds. The model most clients prefer and the one that punishes a vague brief hardest. The fee is only fixed if the scope is, so expect the scope document to be more specific than feels comfortable. That specificity is what protects you.
Monthly retainer: A set amount of capacity reserved for you every month. Worth it once the work is continuous rather than occasional — a catalog that refreshes, a channel that publishes weekly, a site that keeps changing. Below roughly ten to fifteen hours a month it usually costs more than buying the work as it comes.
Value or outcome based: Pricing tied to a business result rather than to effort. Rare, and rarely as clean as it sounds. It works where the outcome is unambiguous and attributable, and falls apart where it is neither. Treat an outcome-based proposal with the same scrutiny you would give any other claim about attribution.

If you want a real number rather than a range, the fastest route is to send us the actual brief — scope, volume, deadline, and a couple of sample files if you have them. That's usually enough for a fixed price rather than an estimate.

How long it takes

Timelines in this field are mostly predictable, with one exception that catches almost everybody. Here's the usual shape.

Typical phase durations
Phase	Usual duration
First reply	Same day, and always within one business day
Free sample back	1–3 business days
Fixed quote after approval	1 business day
Production	Quoted per job, and the date is the real one rather than the hopeful one
Revision round	1 business day for a normal round

One thing worth saying plainly: the most common cause of a late project isn't production. It's waiting — for content, for a decision, for one person to look at something. If you want a project to move quickly, the highest-leverage thing you can do is name one person who can say yes and make sure they're available. That single change is worth more than any amount of chasing.

Rush work is possible and it's genuinely more expensive, because it means real people working real overtime or a job jumping a queue somebody else is in. We'll always tell you what a rush actually costs before you commit to it.

How the work actually runs

This is what a studio project looks like from the inside. Knowing the order matters, because almost every schedule that slips slips at the same two or three points.

The 8 stages of a studio project, in order — The stages of a typical studio project. our work work sits inside this sequence rather than alongside it.

1. First conversation

You tell us the situation rather than the spec. If we are the wrong shape for it, this is where we say so — which costs you one reply rather than a month.

2. Questions back

Three or four, and at least one will be something nobody had decided yet. A supplier with no questions has not read it properly.

3. A free sample

Real work on two or three of your own files, done to your brief, at no cost. It answers the only question that actually matters, and it answers it better than any portfolio.

4. Scope and fixed price

Once the sample is approved the job is understood, so the number can be firm. Deliverables, revision rounds, ownership and payment schedule all written down.

5. Production

The work, with a named contact and an agreed check-in rhythm. No news is deliberately not our default.

6. Internal review

A second person checks every deliverable against the brief before it reaches you. Not a sample of them — all of them. This is included rather than charged.

7. Your review

One consolidated round of feedback beats six emails, especially across a time difference. There is a method for this further down, and it is worth ten minutes.

8. Delivery and handover

Final files in the formats and naming convention you asked for, plus the working files. You own it, including the sources, and it is in the terms rather than assumed.

Where does our work fit? Usually somewhere in the middle of that sequence, and it inherits every decision made before it. That's the argument for settling scope early: a change at stage two is a conversation, and the same change at stage seven is a rebuild.

What to send us

Half of the projects that feel slow were slow at the very beginning. A clean handoff is the cheapest speed improvement available to you, and it costs about twenty minutes.

What belongs in the brief

Who it is for: The audience, in one sentence, in your own words. Not a persona document — a sentence.
What it has to do: The action you want someone to take, or the decision you want them to be able to make.
Where it will live: Every placement, at every size. This is the single most common omission, and it is the one that causes reshoots and recrops.
What already exists: Brand guidelines, prior work, the files nobody likes. Especially the files nobody likes, and why.
What is fixed: Colors, typefaces, legal copy, platform requirements, anything that is not up for discussion.
What good looks like: Two or three references, plus one example of something you actively dislike. The dislike is more useful than the likes.
The real deadline: The date something has to be live, not the date you would like to see a draft. Say which one you are giving.
Who signs off: One name. A brief with four approvers and no decider is a brief that will cost you two extra revision rounds.

Two of those deserve emphasis, because they're the ones that cost money when they're missing. Where it will live — every placement, at every size — is the omission that causes reshoots and recrops. And who signs off is the one that quietly adds revision rounds: a project with four approvers and no decider will always cost more than one with a single name on it.

If you've got files ready now, you can send them straight over — they go to private storage rather than to an inbox, and nothing is public. If you'd rather see the standard before committing to anything, try us on a couple of files first. No card, no commitment, and if it's not what you need you've lost nothing but an afternoon.

How to check what comes back

Most revision rounds exist because of how the previous round was reviewed, not because of how the work was done. Here's how to make a review count.

Check it where it will live: Approve a web asset in a browser, a print asset on paper, an audio mix on a phone speaker. Approving a deliverable in the tool that made it is how problems reach the public.
Check the edges, not the middle: The middle is almost always fine. Look at the corners, the smallest size, the longest string, the darkest area, the last ten seconds.
Check one thing at a time: Color, then type, then spacing, then content. A review that tries to see everything at once sees the loudest thing and misses the rest.
Collect feedback before you send it: One consolidated list beats six emails. Contradictions inside your own organization are cheaper to resolve on your side than on ours.
Be specific about what is wrong: "Make it pop" costs a revision round. "The headline is hard to read against the sky, can we darken the area behind it" costs ten minutes.
Say what is right too: Not out of politeness. If you only flag problems, the next round can lose the thing you liked without anyone knowing it mattered.

The bar we hold ourselves to

So you know what you're measuring against, here's what gets checked on our side before anything reaches you. None of it is optional, and none of it is charged as an extra.

A second person reviews every deliverable against the brief before it reaches you
Deliverables checked in the place they will actually be used, not in the tool that made them
File names and formats matched to your convention, because a renaming pass downstream is a real cost
Anything we could not do to the standard is flagged rather than quietly shipped
The working files go with the finals, so you are never locked in
Where a published standard applies, it is stated and met rather than approximated

You can see how we present finished work — including the before and after — in the portfolio. Anything marked as a sample is our own demonstration piece rather than a client project, and it says so on the item.

In house, freelance, studio, or a model?

This is the decision underneath "how much does it cost", and it deserves a straight answer rather than a pitch. There are four ways to get studio work done, and we're only the right choice for some of them.

A comparison of handling this work in house against using an outside studio — The honest trade-off. Neither column is the right answer on its own — it depends on how spiky your demand is.

Keep it in house

Someone on your payroll does it.

What's good about it: Fastest feedback loop there is, deepest product knowledge, no briefing overhead for small changes.

What's not: You are buying a person, not a job: their vacation, their sick days, their ceiling, and the software. It stops making sense the moment demand is spiky, because you pay for the peak all year.

Hire a freelancer

One specialist, engaged directly.

What's good about it: Cheapest way to buy real expertise, and you get the actual person who does the work.

What's not: One person is one point of failure. No cover, limited throughput, and if they move on mid-project you inherit their files and their conventions.

Use a studio

A team with a process, a review layer and cover.

What's good about it: Handles volume and variety, carries the QC step, and does not disappear when one person is sick.

What's not: More expensive per hour than a freelancer, and you are one client among several. Worth it when consistency across a lot of output matters more than the lowest rate.

Use a model

Generative or automated tooling, with or without a person checking.

What's good about it: Genuinely fast and genuinely cheap on the parts it is good at, and it does not get tired on page four hundred.

What's not: It is confidently wrong in ways that are hard to spot at a glance, and the parts it fails at are the ones a client notices: hands, text, counts, edges, continuity. Nothing should ship without a person having looked at it, which is why our AI work is priced with the review included rather than as a discount.

The short version: if the work is constant and central to what you do, hire. If it's spiky, or it needs a range of skills you can't justify employing, use a studio. If it's one specialist thing and you've found the right specialist, use them. We'd rather tell you that up front than take on a job we're the wrong shape for.

Questions to ask anyone quoting for this

Including us. If a supplier gets cagey about any of these, that's the answer to the question you were actually asking.

Who is actually doing the work?: Ask whether it stays with the person you are talking to, moves to a team, or gets subcontracted. None of those is wrong. Not knowing is.
What exactly is a revision?: Ask what counts as a revision versus a new brief, and how many are included. This is the single most common source of a bill you did not expect.
Who owns the output?: Get it in writing, including the working files. "You own the final" and "you own everything" are very different positions, and the second one costs more for a reason.
What happens if it is wrong?: Ask what a redo costs and how fast it happens. A studio with a clear answer has had the conversation before.
Can I see work like mine?: Not a showreel — work in your category, at your volume, with the constraints you have. A beautiful portfolio in another category proves taste, not fit.
How do you handle my files?: Where they are stored, who can reach them, how long they are kept, and what happens at the end. If you are sending anything unreleased, get this in the contract.
What do you need from me?: A supplier who cannot answer this has not thought about your side of the job, and you will discover that at the deadline.

One more, and it's the one people are most embarrassed to ask: what would make you turn this job down? A studio that has never turned work away is a studio that takes everything, and that tells you something about how carefully it's going to be handled.

Working with a studio you'll never meet

Most studio work now happens between people in different places and often different time zones. That's fine — it's been fine for years — but it rewards a few habits and punishes a few others.

Overlap, not coverage: What matters is not whether a supplier is awake at 2pm Eastern, but whether there is a predictable window when you can both talk. Ask for the window and put it in the calendar.
Batch your feedback: Across a time difference, three rounds of one comment cost three days. One round of twelve comments costs one. This is the single biggest lever you have on turnaround.
Send files once, properly: A clean handoff with originals, a written brief and named files saves more time than any amount of chasing. Half of all "slow" projects were slow at the start.
Agree what "urgent" means: Everyone says urgent. Agree in advance what a rush actually triggers — a different queue, a different price, a different set of hands — so the word keeps its meaning.
Keep one thread: A decision made in a direct message is a decision nobody else on either side can find. One channel, one thread per job.

Our hours overlap the US business day, and we'd rather agree a standing window with you than promise round-the-clock availability nobody can actually sustain. If you want to talk it through before committing to anything, get in touch — there's no pitch deck and nobody will chase you.

The US rules worth knowing

This isn't legal advice and we're not lawyers. It's a list of the American rules that come up often enough in this kind of work that not knowing about them gets expensive. If any of it applies to you, it's worth twenty minutes with someone who is a lawyer.

Ownership and written assignment

Under US copyright law, work created by an independent contractor generally belongs to the contractor unless there is a written assignment or it falls inside one of the narrow statutory work-made-for-hire categories. This surprises a great many buyers. Ours is assigned to you in writing, including source files.

Paying an outside supplier

A US business paying a US contractor normally collects a Form W-9 and may need to file a 1099-NEC; paying a non-US supplier usually means a W-8BEN or W-8BEN-E instead. Your accountant will want these before the first invoice rather than after the last one.

Confidentiality

We will sign your NDA or use ours, whichever you prefer. Uploaded files go to private storage rather than to an inbox, and nothing is published as portfolio work without written permission — which is a separate decision from the one you make when you hire us.

And the general commercial stuff

Whatever the discipline, buying professional services in the United States raises the same handful of questions. These are the ones clients ask us most.

Contracts and statements of work: A statement of work that names the deliverables, the number of revision rounds, the ownership terms and the payment schedule is worth the hour it takes to read. Most disputes in this industry are not about quality; they are about two people having understood "done" differently.
Ownership and work made for hire: Under US copyright law, work created by an independent contractor generally belongs to the contractor unless there is a written assignment or it falls into one of the narrow statutory work-made-for-hire categories. That surprises a lot of buyers. Get the assignment in writing; any studio that hesitates is telling you something useful.
Paying an outside supplier: A US business paying a US contractor normally collects a Form W-9 and may need to file a 1099-NEC; paying a non-US supplier usually means a W-8BEN or W-8BEN-E instead. Your accountant will want these before the first invoice, not after the last one.
Sales tax on services: Whether a creative or digital service is taxable varies by state, and several states tax some digital deliverables and not others. It is worth one question to your accountant before a large engagement rather than one letter from a state revenue department after it.
Advertising claims: The Federal Trade Commission holds advertisers responsible for claims made in their marketing, including claims made in images. A retouched product photo that no longer represents the product is an advertising problem before it is a design one, and the liability sits with the advertiser rather than the retoucher.
Accessibility: Title III of the Americans with Disabilities Act has been read by US courts to cover websites in many circumstances, and federal agencies and their contractors are bound by Section 508, which points at WCAG. Accessibility is cheaper designed in than litigated out.

Our own terms are published rather than sent on request: you can read the terms and conditions, the payment terms, the refund policy and the confidentiality and NDA position before you talk to anybody. If something in them doesn't work for you, say so early — most of it is negotiable and all of it is better settled before the work than after it.

The words people will use at you

Every field has vocabulary that gets deployed as a shortcut and lands as a barrier. Here's what the common terms in studio actually mean, in plain English. You shouldn't need this to buy the work, but it makes the conversation shorter.

Scope of work: The written list of what is being delivered. A fixed price is only fixed if this is.
Statement of work: The document that names deliverables, revision rounds, ownership and payment terms. Most disputes in this industry are two people having read "done" differently.
Revision round: One consolidated set of changes. Agree what counts as a revision versus a new brief, in writing, before the work starts.
Deliverable: One finished thing you receive. A master and six crops is seven deliverables, not one.
Retainer: A set amount of studio capacity reserved for you each month. Worth it above roughly ten to fifteen hours a month, and not below.
Work made for hire: A narrow US copyright category. Outside it, work by an outside contractor does not transfer without a written assignment — which is why the assignment matters.
Source files: The editable originals, as opposed to the flattened output. Owning them is the difference between being able to change something later and having to pay for it again.
Brief: What you want, who for, where it goes and what is fixed. Two pages beats twenty, and specific beats long.
Kickoff: The point at which scope is agreed and production starts. Everything before it is cheap to change; everything after it is not.
Handover: The end of an engagement: final files, source files, and enough documentation that you are not dependent on us to make a small change.

There's a fuller reference library if you want to go deeper on any of these, and everything in it is written the same way — plainly, with sources.

Start somewhere small

The lowest-risk way to find out whether this is useful is to send a couple of real files and see what comes back. Free, no card, no commitment, and if the standard is not what you need you have lost an afternoon rather than a budget.

If you already know the scope, ask for a fixed price. If you would rather look first, here is the work — anything marked as a sample is our own demonstration piece and says so.