Video production is not dropping a casual phone clip into an editing program. Reels, an ad, a process explanation and a short interview can come from the same day. Each one still needs its own ratio, its own first second and its own captions. Yuz Medya builds that day in Istanbul backwards from where it will publish. A vertical file is not “made to work” by cutting the sides off a horizontal film. We do not promise views, virality or a reach number. Delivery is an agreed count of files that are ready to publish.
This page is not the “this is who we are” film. That job runs in the corporate film brief, with a longer narrative. Here the aim is the moving frame you will use this week in an ad, on social or on the site. The two can be shot on the same day. If they are mixed, the corporate film is trapped in a Reel’s pace, and the Reel is trapped in a fair loop’s length. Separate list, separate delivery.
Who it fits
It fits brands that need a steady visual pipeline, stores that have to show the product, teams that want a founder to speak briefly, and events that need a usable recap. A cafe, a clinic, a manufacturer and a school do not share the same hook. In one, the first frame is the product itself. In another, it is a question or a step in the process. The job can be a single shoot or a repeating day that feeds a social calendar. A repeat is written only if your approval speed can carry it. We do not promise three formats every week when the team is not there.
The publishing calendar should speak the same language as social media management. If a cut will be an ad, Instagram ads writes the first frame and the duration into the shot list. Words do not clash with content production. If a still cover is needed, photography is taken in the same light. Scale from the air is a drone filming line.
What is written before the shoot
A day built without ratios and without the promise is a wasted setup. The first second is not invented on the edit desk.
- How many cuts, which ratios, and where each one publishes
- Who is on camera, and which claim sales will stand behind
- The product sample, location permission, and areas that will not be filmed
- Caption language, and the step requested on the end card
- Music: a licensed piece, your recording, or atmosphere only
- The revision round and the delivery format: publishable file, cover, master if agreed
How Yuz Medya builds the day
The list is written so one day can produce more than one cut. In the same setup, a horizontal story and a vertical hook are framed separately. We do not trust a single wide angle and the sentence “we will crop later”. Speech follows a question list. Instead of a memorized brochure, the person is asked something they can actually answer. A price, a treatment outcome or a legal promise they cannot say does not enter the text either.
The edit shows the promise in the first second. Captions are a full sentence for anyone watching silent, not a rain of words. The cover is not a random frame from the opening. If the music right is unclear, we use room tone or a piece whose license is written. The delivery folder follows the platform. We do not send a four-gigabyte master and call it the Instagram file. The approval round is bounded. A new claim that needs a new shoot is not forced inside the same round.
Scope
Scope is the shoot and the edit of the cuts on the list. Monthly publishing, an ad account or unlimited versions are not included.
- Short video: Reels, Shorts or a story length, framed vertical.
- Ad cut: the agreed duration, first frame and end card.
- Story or interview: a question list, a speaker and captions.
- Edit: a rough watch, a fine cut, a bounded round.
- Captions and cover: at the size of the place it will publish.
- Delivery: named files that can go live.
Motion graphics, an external voice or a second day are written separately. A drone is not hidden inside this package. If the location controls filming permission, we take it from you or from the person responsible for the place. We do not walk on as if it were already granted.
Method
In a short video the first moment is a reason to stay. If it is a product, the product is visible. If it is a question, the question can be read. We do not open on a logo animation and reach the actual job in the fourth second. An ad cut carries the same sentence as the page it lands on. If the page does not say “discovery call”, the video does not say it either. In an interview the answer is a length that can be published. We do not deliver a ten-minute chat and say “you cut it”. The cut is our job. The approval is yours.
Captions move toward your identity type and stay readable. Every word does not flash for half a second and vanish. Music does not cover the speech. Placing a track whose license is only for a personal account into a brand ad, then waiting for the platform to take it down, is not the method. Color is not a preset that paints skin orange. If daylight is not enough, light is built. We do not deliver an unusable darkness and call it natural.
Stages
The list
Cuts, ratios, speakers and forbidden claims are written. If an ads team exists, duration is checked against their placement. The day does not start until that check is done.
Shoot
Setups are blocked. Vertical and horizontal are not shot “somehow” at the same time. Each ratio gets its own frame. A face without a permission note is not used.
Edit
The rough watch is for structure. The fine cut is for captions, cover and sound. When the round ends, a new idea is a new scope. Ten versions of the same file are not multiplied and called a delivery.
Publishable files
Each cut comes out at its own size, named. The note says which one goes to ads and which one stays organic. Raw cards are added only if that was written.
What you gain
One organized day can close a visual gap of several weeks. The ads team is not hunting through a folder. A captioned file can be watched silent. The brand does not speak a new color and a new promise in every video. This is not a promise that the cut will reach a view count. The promise is that the file is ready for its place, and that the claim is true.
Common mistakes
Cropping one horizontal recording badly and calling it vertical, delivering without captions, and using unlicensed music come first. Writing a discount or an outcome into captions that was never filmed is the same family. Leaving the approval round open without an end pushes the cut past the campaign day. Sending a four-gigabyte file as “ready to publish” is a delivery nobody uploads.
Putting everyone on camera also thins the day. A short video is not the minutes of a long meeting. The person who speaks and the one sentence are chosen first. If they are not, the edit becomes a face reading a brochure.
Related work, and a quote
The brand film stays separate in corporate films, and it can still share the day. An aerial frame is completed with drone filming, a cover with photography. Publishing uses the same first frame as social media management, and paid distribution as Instagram ads. Words come from the approved sentence in content production.
Tell us how many cuts you need, where they will publish, and who will be on camera, through the contact form. After discovery we lock the day, the ratios and the round limit. We do not promise views. We deliver each cut as a file that can publish in its own place.
What we deliver
- Reels / Shorts shoots
- Ad films
- Interviews and stories
- Edit and captions
- Covers and crops
- Publishing support
Frequently asked about this service
Yes, if it is on the list. Reels, an ad and a short story can be shot in the same lighting setup. Each form has a duration and a call agreed beforehand. A format that is not on the list is not added on set. If time is short, the list is cut before the shoot.
Yes, if the list is written for both. Vertical and horizontal are framed separately. We do not crop the edge of a horizontal film and call it a Reel. Cut count and duration are locked in discovery.
Yes. Short video is often watched without sound. Captions are set in a readable size and do not contradict the speech. If there is an English version, the translation does not add a new promise. The cover frame is part of the same delivery.
No. We deliver a file that is ready to publish, captioned, and accurate in its claim. Distribution depends on the account, the ad and how long the piece has been live. We do not write a number promise.
A corporate film tells the organization or a product family in a longer story. Video production is for work that must be watched now in a campaign or a social flow. Both can come from the same day. The edit and the words are not mixed. If a longer story is required, the corporate film scope is written separately.
The piece is a source whose license is clear for the agreed publishing, or a recording of yours. We do not put a track that is only cleared for a personal account into a brand ad and wait for the platform to remove it. The license note sits in the delivery.
No. Delivery is a file that is ready to publish, with captions. How many people watch depends on distribution, where the page places it, and the budget if ads are involved. We do not present a view count as the success of the shoot.
Yes, if the lists are written separately. The pace of the corporate film and the hook of the short video are not mixed. If the day cannot carry both, the second job moves. We do not squeeze them into a rush.
Yes, when the piece will be watched without sound. Captions follow the approved sentence. They are not a blind dump of automatic transcription. If English is required, the text is not invented after the shoot. It is written in discovery.
People who are there that day and have a permission note. We do not invent speech for someone who is out of the city. A claim that cannot be said — a price, a treatment, a legal outcome — does not enter the text either.