A six-cycle content programme: one production cycle every two months, each a planned shoot day and up to twenty finished pieces, produced end to end by Polaris. The longer engagement we mapped out together, paced to your diary.
Available in any cycle when you want them: social carousels, a B-roll clip bank, extra social cut-downs, website hero loops, and before-and-after reveals.
This next chapter has already begun. We filmed the first cycle of case studies in February, and the edit starts the moment you sign off.
The case study films are the flagship of the work. Their cinematography and storytelling set how the brand is seen, and each one puts the clinic's strengths, and what sets it apart, on show.
Over the last year we built the library and refreshed the YouTube backlog, so the engine is already in place: clear sign-off, and content that keeps moving without getting stuck. The work now is to keep that output steady and dependable, at a rhythm that fits the clinic's diary and budget. This outline sets that out: a six-cycle content programme, one production cycle every two months. It is the longer engagement you asked about after last year's initial run, now paced to the every-two-months rhythm you suggested.
One planned production day every two months, fully produced from pre-production through filming, editing and delivery, with two Frame.io review rounds along the way. The shoot is the visible part, but the planning before it and the craft after it are where most of the quality lives.
The same process runs every cycle, so the output stays consistent and the clinic always knows what is coming.
Each cycle starts with pre-production and creative planning, then a production day, then editing with two review rounds via Frame.io, then delivery and publish. At each delivery handover we book the next cycle's shoot day, so the rhythm carries itself across all six cycles. By the end, every core treatment has a finished, presentable set of content behind it.
Delivery timing. First cuts typically land within four weeks of the shoot day.
This is what lands every cycle as part of the core: commercial-grade treatment story films, built from real patient journeys and delivered for web, YouTube, Instagram and TikTok, plus the assets around them. Included and fixed, not something you select.
The core covers your content in full. The modules below are optional: some recur and add to your cycle fee, the rest are extras you can request in any cycle, with no commitment now.
Switch this on and it is added to your recurring cycle fee, with the price rail and summary updating as you do. Leave it off to keep the core as it is.
Extras you can call on in any cycle, shown with their prices so you know what to expect. They are not selected now and do not change your totals.
YouTube sits outside the cycles on purpose. Last year it was carried every month, whether the schedule allowed it or not. This year you stop paying for it monthly. You book it only when there is a real filming window, and only pay then. It is produced exactly as before; nothing about the work changes, just when you pay for it.
Everything we make for you each cycle is licensed for your own channels by default, included in the core. The unlocks below only come into play on the specific pieces you push further, into paid ads or third-party brand use. If a piece goes that way, let us know and we apply the right unlock. Nothing here is committed to now; the prices are for information.
The production cycle is £6,000, ex VAT. Six cycles, one every two months, so it averages £3,000 a month across the engagement.
The cycle rate reflects a committed six-cycle programme, which lets us hold your crew, kit and edit time in advance and plan your treatment coverage across the six cycles. That commitment is what makes the rate possible.
Each cycle carries more than last year's months did: four treatment story films in widescreen and vertical, each with a text-free version, plus up to eight social cut-downs, up to twenty finished files a cycle, more than any single month carried last year. The 4K stills bank and own-channel edit rights are included too. The figures below update live as you set the modules in section 04. Info-only modules, YouTube and the per-piece unlocks are added only as and when you use them, so they do not appear in these totals. All figures are ex VAT.
This is a commitment to six production cycles, one every two months. It works because each cycle's production time is protected and booked ahead, and that shapes a few simple terms below.
One production cycle every two months, six in all, with the next shoot day booked at each delivery handover. Dates flex to your diary, so a cycle moves rather than disappears. Each piece gets two rounds of review via Frame.io, and timely sign-off at those two points keeps the schedule moving. We keep the source material on hand, so further cuts can be commissioned without re-shooting.
A few answers, written plainly. If any of them do not quite work for you, just tell us. We would rather hear it now than guess later.
Up to twenty finished video files a cycle, plus a 4K stills bank. Four treatment story films, each in a widescreen and a vertical version, with text-free versions and up to eight short social cut-downs we edit for you. On top of that, a 4K frame-grab bank of twenty to thirty high-quality stills per case study, and before-and-after stills where the result is captured on the day. All of it produced end to end, from one planned production day a cycle.
That is the core, and it is fixed. The optional modules in section 04 add to it only if you choose to set them.
Everything in the core is licensed for your own channels as standard, in the cycle fee. That covers your Instagram, TikTok, YouTube, website and internal comms.
The per-piece unlocks in section 06 only come into play on specific pieces. Paid ads or commercial use covers a twelve-month campaign window for that piece. A sponsor or third-party brand unlock clears a piece that features another brand. Owning a piece outright is a single-piece buyout, and a full buyout of all deliverables is available on request.
You only apply an unlock on a piece when it actually earns the wider use.
YouTube is booked and paid per production, not part of the cycle fee. Each booking is fully produced, with pre-production including research, production and post, the same approach as last year, at £4,000 ex VAT per booking. You book a YouTube production when it suits you and only commit and pay when you do.
Separately, we'll finish the remaining YouTube backlog under the current arrangement, then scope any remaining editing separately.
Dates can move; the rhythm is what matters. A cycle's shoot day can be rescheduled with a little notice, and we will find a date that works for both sides. Booking the next shoot day at each delivery handover is what keeps this easy, so the diary never has to be opened from a standing start.
A cycle moves rather than drops. If a stretch is busy, we slide that cycle's shoot day rather than lose it, and the six cycles still land across the engagement. If you can see a busy stretch coming, tell us early and we will plan the dates around it together.
Yes, and that is the point. This is a commitment to six production cycles, the longer engagement you asked about after last year's initial run. Committing to the six is what lets us hold your dates, plan your content around your treatments across the cycles and keep the rate where it is.
What you are not tied to is a rigid calendar. Cycles are paced at roughly one every two months, but shoot days flex to your diary, and a busy stretch slides a cycle rather than losing it. The commitment is to the work getting made, not to a fixed set of dates.
Payment is per cycle, in advance; a missed payment just pauses new work until it is resolved. Cycle 1 is invoiced on signature, and each cycle after that is invoiced when its shoot day is booked, so nothing lands unannounced. It can be set up once via GoCardless or run as an invoice per cycle, whichever suits. Paying ahead is what keeps the schedule reliable.
If a payment is missed, we simply pause new work until it is resolved, then pick straight back up. There are no penalties beyond that pause; we would always rather sort it out with a quick conversation.
A few soft questions to sharpen the next conversation and the SOW. None are urgent, and the outline stands without them.