One shoot, two worlds: an online commercial in several versions with subtitles, and a TV spot delivered broadcast-ready at EBU R128 loudness.
One shoot, two worlds
A commercial sells one offer, in short form. Online you do not need one file but a whole set: landscape 16:9 for YouTube and the website, vertical 9:16 for Reels, TikTok and Shorts, 4:5 and 1:1 for the feed, all with subtitles, because in the feed the video starts without sound. The lengths are 6, 15 and 30 seconds: the 6-second cut is the reminder, the 15 is the ad, the 30 is the story.
The TV spot can come from the same shoot, but with broadcast-ready delivery: exact loudness, technical acceptance, the channel's format. And the TV screen is now half internet: according to Nielsen's May measurement published on 28 July 2026, 48.6 percent of US TV viewing time was streaming, 19.2 percent terrestrial and 20.4 percent cable. That is why a commercial is made for both worlds.
From brief to broadcast-ready file
Approval at the end of every step
Six steps with deadlines fixed in advance. Brief: what we sell, to whom, where the film runs, on one page that gets everyone on the same track. Concept and script: two or three directions, from these one fully developed script and storyboard. Pre-production: location, cast, crew, wardrobe, permits. Shoot: one or two days, with shots planned in advance for every version. Editing, sound and colour grading in our own studio. Versions and delivery: exported per platform, with a broadcast-ready file for TV.
Approval at the end of every step is yours: you sign off the script, the storyboard and the first cut before the next step starts.
We decide the lengths at the script stage, not afterwards. Each one is a separate cut with its own rhythm and sound mix.
The full story: situation, turn, promise, brand.
This opens the campaign, this is where the viewer gets to know the film. The super, the logo and the closing message find their place here, and they sit in the same spot in the shorter versions too.
The condensed version: the same story with fewer scenes.
In the media plan it runs where the 30-second spot would be too expensive but the story still needs room.
One situation and the promise. The most common online and TV length, this is what runs in most places.
We mark in the script in advance which scene stays in.
The reminder in the second half of the campaign: one image, one sentence, the brand.
It only works if the viewer has already seen the long version, so the image and the sound stay the same.
Commercial channels accept the ad in 16:9 HD through their own ingest system, with loudness and safe area according to the EBU recommendations. In the studio we set the export to these values, so the spot does not come back from technical acceptance.
| Property | Value |
|---|---|
| Aspect ratio and resolution | 16:9, 1920 × 1080 |
| Frame rate | 25 fps, 50i |
| File | XDCAM HD 422, MXF OP1a |
| Loudness | EBU R128, −23 LUFS, peak max. −3 dBTP |
| Safe area | EBU R95, graphics 5% (1728 × 972), action 3.5% (1786 × 1005) |
We handle the delivery to the channel's ingest system, and we manage the confirmation too.
XDCAM HD 422 and EBU R128
EBU R95: where captions and logos go
16:9Camera, lenses, sound, light
The TV spot is delivered as a 1920 × 1080 pixel file at 25 fps or 50i, with the XDCAM HD 422 codec in an MXF OP1a container. We mix the sound according to the EBU R128 recommendation: programme loudness −23 LUFS, peak level max. −3 dBTP, so the spot is not louder than the programme and the channel's acceptance measurement passes it.
We measure the mixed sound in the studio with instruments, not by ear. The online version comes from the same mix, where subtitles replace the sound in muted playback.
In a TV ad at 1920 × 1080 pixels, supers and logos belong in the 5 percent graphics safe area, that is the central 1728 × 972 pixels: 96 pixels stay free on the sides, 54 at the top and bottom. The important action stays within the 3.5 percent action safe area, the central 1786 × 1005 pixels.
Supers, legal text, logo, phone number and website all go into the graphics safe area, because some TV sets crop the edges. The top right corner is taken by the channel's own logo, we put nothing there.
Camera: Sony FX3 and Sony A7 IV, with on-set monitor (Atomos Ninja) and Angelbird backup recording. Lenses: the complete Zeiss Batis range (18, 25, 40, 85 and 135 mm), the complete Zeiss vintage range (20, 35, 50, 85 and 135 mm), Sony 16-35 and 24-70 mm, professional ND, polarising and Pro-Mist filters. Complete rig and tripod sets, a separate rig for car shoots and table top recording.
Sound: Sennheiser G4 sets with broadcast microphones, Rode shotgun and lavalier microphones, Hollyland Lark lavaliers, Sennheiser HD25 monitoring headphones. Light: four Zhiyun Molus X100 RGB Pro, three De Sisti Magis 650 W halogen, Godox and Ulanzi RGB LED tubes and cubes, softboxes and reflectors in every size.
Color and sound in our own studio
We work on four master workstations, each with at least 128 GB DDR5 memory, a 12 GB graphics card, 2 TB SSD and 40 TB HDD, replaced every two years with the latest models. We view the picture on 4K, 10 and 12 bit OLED and LED monitors, calibrated with certification every year to the Rec. 709, sRGB, HDR10 and Dolby Vision HDR standards, through a Blackmagic DeckLink 4K Extreme 12G monitoring card.
We mix the sound on Solid State Logic and Universal Audio interfaces with SSL UF8, UF1 and UC1 controllers, in three studios on Genelec 8030, 8050 and 6010 monitors, in acoustics measured with instruments by a sound engineer. That is why the same spot sounds and looks the same on TV, on the phone and on the laptop.
Three copies, two sites
Three copies, two of them in separate buildings
We record to dual memory cards. The content of one card goes to the master workstation, from there a mirror backup to our own NAS, which saves hashed over an encrypted VPN network, and the content of the NAS is mirrored to a second master workstation in another physical facility. That makes three copies, two of them in separate buildings: the material survives fire, water or any other damage. Processing runs from a working hard drive, delivery goes through an independent business cloud provider, which is one more backup.
We store the material as agreed: in an annual contract storage is part of the price, otherwise every format is deleted within 3 months of delivery. The agreement covers the final film to be delivered, the raw footage is handed over on separate request.
Commercials, TV spots, brand films, employer branding videos and music videos in one place. With the filter you can view the TV ads and the online ads separately.
We have no fixed package for commercials, because the price depends on the number of shooting days, the size of the crew, the cast, the location, the duration of the usage rights and the number of versions; TV delivery and media spend are separate items. Based on the brief we send a quote with a script and fixed deadlines, and work starts after agreement. If the film is part of a longer content production partnership, the terms of the 12, 24 and 36 month contracts can be found on the content production page.
Oloren Hub
You watch the edit in Oloren Hub, right next to the post. Write down at which second you would change what, we upload the new version, and the conversation, versions and approval stay in one place until the video goes live.
Tell us what you want to sell, where the film would run (online, TV or both) and what length you have in mind, and we will get back to you with a quote. Work starts after agreement.
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Our own project hub where clients follow and approve the work: post copy, photos and videos in one place, and approved posts go live on Facebook and Instagram from here.
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