YouTube advertising
Most agencies run the campaign and commission an external videographer for the assets. That means three weeks of waiting, a new brief and a new budget every time the creative stops working. Our production unit, dot-films, sits in the same office as the campaign team. When the data shows a creative is failing, new variants are shot the next day.
Context
That is the whole argument for this page, and it is a practical one rather than a philosophical one. On YouTube, creative fatigue is the single largest driver of rising cost per result.
What we do
- Produce and run YouTube advertising, including in-stream, in-feed and short formats.
- Video for other channels from the same shoot. One shooting day produces material for Meta, LinkedIn and the website as well, which is where the economics of in-house production show.
- Measurement beyond views. Watch time, audience match, and where possible the business signal that follows.
Why in-house production changes the numbers
On paid video, the asset is the largest lever. Targeting can be adjusted in minutes, but a video that no longer holds attention cannot be fixed by bidding.
The practical consequence is refresh frequency. An external production chain makes a creative refresh a project with a brief, a quote and a schedule. That is why most campaigns refresh too late, when the cost per result has already risen. With production in the building, a refresh is a decision rather than a procurement exercise.
Who this is for
The fit is right for companies running video continuously rather than once a year: recurring campaigns, several products or locations, or a channel meant to build an audience over time.
It also fits where the subject genuinely needs showing. Manufacturing, healthcare, tourism, employer communications, anything where a still image and a headline leave the essential part out.
Where we advise against it. For a single film with no campaign behind it, a production company is cheaper than an agency. We say so rather than sell an engagement. And where the media budget is too small to distribute the material, production is the wrong place to start.
Results
| Client | Result | Period |
|---|---|---|
| Deutsche Bahn | 82.9m views, 88,097 of around 130,000 subscribers built | 2015 to January 2026 |
| MarketVector Indexes | 4.6m views, 80,126 hours watch time, 81.4% in the 25 to 44 target group | since 2017 |
| BMZ (federal ministry) | 2.75m views, subscriber base tripled, 82 videos | multi-year |
Note for approval: please verify all figures against your own reporting before publication.
How we work
1. Decide format and frequency. How many assets per quarter, which lengths, which channel leads. This decision drives the budget more than media planning does.
2. Shoot in series. Not one video but a batch. This is what makes the cost per asset work and what keeps the refresh frequency achievable.
3. Run and adjust. Weekly review, monthly reporting, a creative refresh before fatigue shows in the numbers rather than after.
4. Feed the channel from the same material. Paid assets and channel content come from the same shoot. Treating them as separate projects wastes most of what was produced.
What it costs
An ongoing engagement starts at €3,500 per month for one channel. For the first three months we charge €3,000. Across several channels the entry point is €6,000. Production is quoted separately, since it depends on shooting days, locations and post-production. Media budget runs through your own accounts.
As a rule of thumb, in the first quarter production is the larger share and media the smaller. That reverses over the following quarters, because the material continues to work.
Frequently asked questions.
Useful next steps.
Next step
We review your starting point free of charge and recommend the right order of work.
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