When the film has to carry the whole year.
Multi day productions with a full crew, casting, locations and a proper post schedule. The tier you choose when the work has to stand next to national advertising.
Reel slot. A cinema tier cut goes here once the client clearances are signed.
Scale is a decision, not an upgrade.
Most briefs do not need this and we will say so. It is right when the film is the campaign rather than part of it: a launch, a repositioning, a flagship piece that has to run for years and hold up beside work with much larger budgets behind it.
The same brief, at a different scale.
Nothing here is decoration. Each line is a place where a bigger production buys you a choice you would not otherwise have.
Every role filled by somebody who only does that role.
On a commercial shoot people double up. At this tier they do not, which is most of why the schedule holds.
Five things a larger production adds.
Development
More than one concept, developed properly, with the strongest chosen on merit rather than on who pitched it loudest.
Casting
Real casting sessions with options, chemistry reads where the piece needs them, and contracts that cover your usage.
Art direction
Sets, props, wardrobe and colour designed rather than borrowed. This is usually what separates work that looks expensive from work that is.
Coverage
More setups, more angles, more takes. The edit has genuine choices, which is where a good film becomes a very good one.
Finishing
Cinema grade colour, original sound design and a mix built for the screens it will actually run on.
Every person on the unit gets this the night before. It is the difference between a long day and an expensive one.
A production of this size runs on paper before it runs on a floor.
| Master film | Graded and mixed, in the finishing spec your placements need |
| Cutdowns | Shorter versions built from the same edit rather than trimmed carelessly |
| Placement versions | Wide, square, portrait and vertical, framed at the shoot |
| Stills | Selected frames and unit photography from the shoot days |
| Subtitles | Arabic, Hebrew and English, burned or as sidecar files |
| Licences | Music, stock and talent usage listed so you know exactly what you hold |
If it does not need this, do not buy it.
Most brands are better served by a well written commercial and a quarter of content than by one large film and an empty calendar afterwards. We will tell you which you are on the first call.
The things producers get asked first.
How do we know we need this tier?
If the film has to launch something, reposition the brand, or run for years across paid media, it usually does. If it is filling a content calendar, it does not.
What does it cost?
It scales with crew, days, casting and post. The enquiry form asks for a budget band so the first conversation is about what is achievable rather than what is imagined.
How far ahead do we need to book?
Several weeks at minimum, because casting, locations and crew availability drive the calendar rather than our own diary.
Can you work with our existing agency?
Yes. We have no interest in a turf argument and we will work to their brief if that is the setup.
Do you shoot outside Israel?
We have, and we will quote it honestly, including the costs most people forget.
Tell us what the film has to carry.
One call with a producer. If a smaller tier does the same job for less, we will tell you on that call.