Skip to content
ASRcreative

audiovisual

Audiovisual Production

Picture and sound designed together, not stitched together.

Discuss an audiovisual project See the process

In short

Audiovisual production covers concept, shooting or sourcing footage, edit, sound design, music and delivery. ASRcreative's difference is that the music and sound are part of the same production decision as the picture, which removes the usual gap between an edit that is locked and a soundtrack that has to be forced onto it.

ASRcreative produces audiovisual work — branded content, films, performance and live-capture pieces, edits and re-versioning — with music and sound designed as part of the piece rather than added at the end.

Outcomes

What you get out of it

  • A piece that works with sound on, and still communicates with sound off
  • Music and sound designed for the cut, not licensed to patch it
  • Versions and aspect ratios prepared for the channels you actually use
  • Delivery specifications that pass platform and broadcast checks

Deliverables

  • Master edit in the agreed delivery specification
  • Channel versions and aspect ratios: 16:9, 9:16, 1:1 and cutdowns
  • Subtitle and caption files where the piece needs them
  • Original score, sound design and mix, or licensed music where that is the better route
  • Project documentation covering versions, music usage and delivery specs

Process

How the work runs

  1. 01

    Objective

    What the piece has to achieve, for whom, and where it will be seen. Format follows from that, not before it.

  2. 02

    Concept and treatment

    A written treatment covering narrative, look, pacing and the role sound plays. Approved before anything is shot or edited.

  3. 03

    Production

    Shooting, capture or assembly of existing material, against the approved treatment.

  4. 04

    Edit and sound

    Picture edit developed alongside sound design and music, so the rhythm of the piece is one decision rather than two.

  5. 05

    Versioning

    Channel versions, durations and formats produced from the approved master.

  6. 06

    Delivery

    Files delivered to the required technical specification, with documentation of what is included.

Sound is half the picture

Most audiovisual work is planned as picture first and sound last, which is why so much of it feels louder than it is memorable. Deciding on the sonic direction while the treatment is being written changes the edit itself: pacing, cut points, where silence carries more than score.

It is also cheaper. Music decided at the treatment stage is composed or licensed once. Music decided after picture lock is usually bought twice.

Versioning is a production decision, not an afterthought

A piece that will run as a 16:9 film, a 9:16 vertical cut and a six-second bumper should be framed and paced for all three from the start. Retrofitting a vertical crop onto a horizontal composition loses information every time.

The version list is agreed before production, so the shoot or the assembly protects the frames each version needs.

What is documented on delivery

Every delivery includes what is in the piece and what its usage depends on: which music is used and under what basis, which versions exist, and the delivery specification each file was made for.

This is what allows another team to pick the work up in a year without guessing.

Before you write

What we need from you

  • The objective and the audience
  • Where the piece will be published and any platform specifications
  • Existing material: footage, brand assets, guidelines, previous work
  • Durations and versions required
  • Any legal, rights or confidentiality constraints on people, locations or music
  • Deadline and approval milestones

You do not need all of it to make contact. Anything you can answer makes the reply more useful; anything you cannot is part of what gets worked out together.

Discuss an audiovisual project

FAQ

Questions people actually ask

When should music be decided in an audiovisual project?

At the treatment stage, not after picture lock. Deciding the sonic direction early changes the edit itself — pacing, cut points, where silence works harder than score — and it avoids paying for music twice, which is what usually happens when a locked edit has to be fitted with a soundtrack afterwards.

Do I need to decide the channel versions before production?

Yes, if you want them to be good. A piece that will run as a 16:9 film, a 9:16 vertical cut and a six-second bumper needs to be framed and paced for all three from the start. Cropping a horizontal composition into vertical afterwards loses information every time.

Can you work with footage we already have?

Yes. Edit, re-versioning, sound design and scoring can be built on existing material. What matters is knowing the rights position of that material — who shot it, who appears in it and what usage was agreed — because that determines what can legally be delivered.

Next step

Discuss an audiovisual project

Describe the project and what it has to achieve. You get a written answer with scope and next steps, not an automated quote.

Discuss an audiovisual project Other ways to reach us