01
Creative direction and concept
The idea, the message and the visual language, settled before anything is shot. What the campaign asks of its audience, in one line every person on your team can repeat.
Services 02 Campaigns & Storytelling
Made to be believed.
Attention is cheap. Belief is not. We make campaigns for organisations whose claims have to hold up: conservation, impact, education, expedition tourism and the businesses around them. Concept, script, film, photography, social, print and out-of-home, shot where the work actually happens and rolled out on a plan rather than a whim.
- We shoot
- On location, with real people and real places
- We deliver
- Concept to rollout, not a pile of assets
- We never
- Fake a place, a person or a result
Story before spectacle.
Most campaign briefs arrive as a list of assets: a reel, six posts, a poster. We start one step earlier, with what the campaign needs someone to believe and why they currently do not. The asset list falls out of that answer, and it is usually shorter and better than the one we were handed.
We work in Nairobi, Nanyuki and across northern Kenya, so we shoot in the places our clients actually operate. That matters for the work we take on. When an organisation is asking for trust, money or a change in behaviour, borrowed footage of somewhere else is not a shortcut, it is a liability.
Great ideas, powerful visuals, real impact.
The diagnosis
The usual pattern.
Campaigns rarely fail at the shoot. They fail before it and after it.
- 01
You post consistently and nothing compounds.
- 02
Every campaign starts from zero because nothing was written down last time.
- 03
The footage exists somewhere and nobody can find the version that was approved.
- 04
The message changes depending on which team member is speaking.
- 05
The launch date moves because the assets are late, not because the plan changed.
- 06
You are measuring what is easy to count rather than what you needed to happen.
What we build
Six things we make.
02
Scripting and story arcs
Scripts, treatments and multi-part arcs built to be followed rather than scrolled past, with an opening that earns the middle.
03
Film and photography
Production on location: shooting, directing, editing and grading. Short form for feeds, longer cuts for the room where the decision actually gets made.
04
Social campaigns
Branded series and rollouts designed per platform rather than one asset resized four times, with a posting rhythm a small team can sustain.
05
Print, posters and out-of-home
The physical half: posters, event kits, banners, brochures and billboards, prepared to print specification and checked before a mistake costs money to fix.
06
Rollout and management
Scheduling, channel planning, asset libraries and feedback tracking, so the next campaign starts from what this one learned.
Artificial intelligence
Where AI actually earns its place.
On a campaign, AI is a production tool and not a creative one. It earns its keep in the unglamorous middle: the versioning, the translating, the finding.
Versions without a second shoot
Cutting, captioning, subtitling and resizing one shoot into the formats each platform needs, including the languages your audience actually speaks.
Finding the footage again
Transcribed, tagged and searchable archives, so last year’s material becomes a resource instead of a folder of filenames nobody opens.
Drafts to react to
Scripts, captions and variants generated fast, so the team has something concrete to argue with hours before a blank page would have produced anything.
What we will not do: generate a person, a place or a result and let it pass as documentary. If a campaign shows a school, we went to the school. For the organisations we work with, that line is not squeamishness. It is the entire basis of the claim.
Proof
Shot, cut, shipped.
Delivered
Campaign pathways inside the story
Nkishon Mission Foundation
Giving made first-class rather than bolted on: sponsorship and campaign pathways woven through the journey, with banners for time-bound goals that run without disturbing the calm of everything around them. The foundation’s work among the Samburu, told editorially and at the pace it deserves.
Delivered
A line the whole practice stands on
HKM Construction
"Built to Belong" set as the hero statement over the practice’s own photography, with measured scroll motion that lets the buildings carry the story instead of the interface.
Delivered
The case for a product, told simply
EPC Aviation
An evidence-led argument for simulator time: cost, repeatable emergency training and schedule independence, written so a school principal and a student pilot both follow it. Delivered in English and German.
How we work
Six steps, one shoot.
- 01
Find the belief
What does someone need to believe, and what do they believe instead right now? Everything downstream is decided by that answer, including how much we need to shoot.
- 02
Concept and script
The idea, the line and the treatment, agreed on paper before a camera is booked. Changing your mind is cheap here and expensive later.
- 03
Plan the shoot
Locations, people, permissions, schedule and shot list, built around what is genuinely available rather than what would be ideal.
- 04
Shoot
On location, with the people whose work it is. We shoot for the whole campaign in one visit wherever the schedule allows, because a second trip is the most expensive line on any budget.
- 05
Edit and adapt
One edit becomes the versions each channel needs: cutdowns, captions, stills, print. Approved versions are labelled, so the file that ships is the file that was signed off.
- 06
Roll out and review
A posting plan your team can sustain, then an honest look at what moved and what did not, written down so the next campaign starts ahead of this one.
Working together
Three ways in.
Campaign concept
Fixed fee
The thinking on its own: the belief, the line, the treatment and the asset plan, delivered as a document your team or your existing supplier can execute. Credited against production if we go on to make it.
Full campaign
Fixed fee, phased payments
Concept through delivery: scripting, production, edit, adaptation and the print or digital assets, priced against a scope we agree before anything is booked.
Retained creative partner
Monthly retainer
An ongoing rhythm: a standing shoot cadence, a working asset library, and a team that already knows your story and does not need re-briefing every quarter.
No cookie-cutter packages. Production cost is driven by locations, days and crew, so we scope it honestly and in writing before a single day is booked.
This is for you if
- You have something real to show and it is not being seen.
- You are raising, launching, or asking people to change something they do.
- Your work happens in places a crew has to travel to reach.
- You have been posting for a year and cannot say what it produced.
This is not for you if
- You want volume: a fixed number of posts a month whether or not they say anything.
- You want the campaign to claim something the work does not yet support.
- You want it shot to look like somewhere it was not.
We only build what removes real work.
Questions
Before you ask.
Do you travel?
Yes. We are based in Nanyuki and work across northern Kenya, so travelling to the work is normal rather than an exception. Travel, days and crew are scoped and priced before anything is booked, so the number does not move after the shoot.
Can you work with footage we already have?
Often, yes. If there is a usable archive, we would rather cut a campaign from material you already own than charge you to reshoot it.
What do you need from us?
A decision-maker who can approve the concept, access to the people and places in it, and any permissions the location requires. Those three are what actually delay shoots.
Who owns the footage?
You do, including the raw material and not only the final cuts.
How do you measure a campaign?
By what it was for, agreed at the start: enquiries, sign-ups, donations, attendance or applications. Reach is a diagnostic, not a result.
Tell us what needs believing.
Not the asset list. The thing your audience currently does not accept, or has never heard. We will tell you whether that is a campaign, a single film, or a conversation you should be having somewhere else entirely.