Box Chronicles
An animated character series for a relocation brand — one cast, five stories, built to run as a sequence across a full quarter of paid media.
Direction locked · Day 3
Delivered · 9:16 · 1:1 · 16:9
New angle shipped · Cycle 04
Remote commercial studio · 2 sprint slots open
Ads
decay.
Ads
decay.
Your creative
shouldn't be
the reason.
Sweet Build makes product commercials for brands running paid media — the kind that need a new angle every few weeks, not one hero film a year. Strategy, script, production and delivery in a single engagement, on a locked timeline.
The thesis
Nobody's creative fails all at once. It wears out — the hook stops landing, the cost per result drifts, and the account quietly gets more expensive. The fix is new angles, on a schedule.
0
Working days from first call to a finished commercial
+0
Brands produced for, across nine markets
0%
Revision rounds — because direction is signed off first
The whole model exists so you can test creative at the rate paid media burns it.
See how it runsSTAGE 01 / 03 · DAY 01–03
Direction
One working call — the product, the buyer, what your current creative isn't doing. Then angle, script, treatment and a shot-by-shot outline, written down as a document you keep, whether or not you continue with us.
◆ Your sign-off happens hereCreative direction · v1Awaiting sign-off
Angle
Hook 0–3s
Script
Treatment
Shot list
CTA
◆Client gate · 2 working days
STAGE 02 / 03 · DAY 04–06
Production
Generation, direction, grade, sound and voice — an AI production pipeline run by people who've shipped commercial work for sixty-plus brands. You see nothing half-finished. The next thing you look at is a finished film.
GEN 01
GEN 02
HERO
GRADE
VO
GEN 03
SOUND
CUT
MASTER
STAGE 03 / 03 · DAY 07
Delivery
Master file plus the aspect ratios your placements actually need — 9:16, 1:1, 16:9 — cut for each, not cropped from one. In your ad account the same day.
◆ Your acceptance closes the sprint9:16
1:1
16:9
The work
Watch it before you
read another word.
Showreel · 2026
Deccan Events
A single narrative film assembled from sixteen directed scenes, then cut down into short-form variants for social distribution.
ISP
A fast-cut television commercial holding one character across every scene — the hardest thing to do in AI production, and the reason it reads as one film.
Want the full case study on any of these, including the brief and the direction document?
Ask for the case studiesWhy this way
What you stop paying for.
No shoot days
No crew, no location, no reshoot
Most of a production budget is logistics. The cost of a second version here is the cost of directing it — not the cost of standing everyone back up.
No revision rounds
Direction is locked before production
Sign-off happens on the document, while changing your mind is still free. After that, what you see is what you approved — which is why the timeline holds.
No creative fatigue
New angles, not new edits
Every cycle brings genuinely different hooks and formats. We keep a written record of what's been used, so the fourth month doesn't quietly repeat the first.
No chasing
One pipeline you can see
Every deliverable sits on a stage board with dates attached. You always know what's in production and what's waiting on you — without asking.
Built for brands that need continuous, testable, on-brand creative — not one film a year.
See what it costsThe system behind the work
Every project runs on Handoff.
Good creative dies in messy delivery. So we built Handoff — our own agency operating system — and every engagement runs on it. Scope is locked as a contract, every deliverable moves through a visible stage pipeline, and approvals carry deadlines that enforce themselves. It's why the work ships on time, every time — systematically, not heroically.
Scope as contract
You always know what "done" means
Quantities per service are locked upfront and never quietly edited. Every monthly report is measured against that number, not against memory.
Deadlines that hold
Timelines you don't have to chase
Each stage carries a locked date inside Handoff. No "quick update?" messages — the pipeline tells us before you have to ask.
Client time, visible
Both sides are accountable
Time spent waiting on us and time spent waiting on you are tracked separately. When a date slips, it's never an argument about whose turn it was.
Built in-house around how retainer work actually moves — not bought off a shelf.
Explore Handoff ↗Engagements
Three ways in.
All in USD.
Start with a sprint. If it works, the fee comes off your first month. If it doesn't, you keep the direction document and we shake hands.
Most engagements start here
Creative Direction Sprint
$850
One-time · 7 working days
- Positioning & audience session
- Written creative direction document
- One finished commercial, up to 45s
- All placement ratios, cut individually
- Credited in full against month one
Retainer
$1,400
Per month
- Ongoing commercial production
- Fixed monthly scope, agreed upfront
- Fresh angles each cycle — no repeats
- Monthly creative review against results
- Direct line, no account layer
Extended
$2,600
Per month
- Higher production volume
- Documented angle library — every hook and format, tracked and yours
- Quarterly creative strategy review
- Priority in the production queue
- Multi-market and multi-language versioning
◆ Terms
If the first commercial doesn't meet the brief, you don't pay for it.
That's a quality commitment on work we control, and it's scoped to the sprint. We won't guarantee a number inside your ad account — media performance depends on budget, audience, offer and landing page, and we don't own those. Anyone who promises you otherwise is guessing with your money.
Prices are per brand. Multi-brand and agency white-label arrangements are quoted separately.
Get a proposalQuestions
Before you ask.
Is this AI-generated video?
Yes — production runs on an AI pipeline, directed and finished by people who've shipped commercial work across nine markets. That's the reason a second version costs what it costs. The strategy, the script, the direction and the quality decisions are human, and always will be. If a film doesn't look like something we'd have been happy to shoot, it doesn't leave the studio.
Why is it cheaper than a production house?
Because most of a production budget is logistics — crew, location, equipment, talent, travel, and the reshoot when something's wrong. We don't carry those costs, so you're paying for direction and craft rather than a day on set. The trade-off is real: if you need a hero film with a named face and a live location, hire a production house. If you need continuous, testable creative for paid media, this is built for that.
What do you need from us to start?
Product images or footage if you have them, your logo and brand colours, and thirty minutes on a call. If you don't have usable product assets, say so on the call — creating them is quotable work, and we'd rather price it than absorb it quietly.
Really no revisions?
No revision rounds after production, because sign-off happens earlier — on the written direction, where changes cost nothing. If we deliver something that doesn't match what you approved, that's ours to fix and we fix it. What we don't do is rebuild a finished film around a change of mind, which is what revision rounds usually mean and what they quietly cost you in timeline.
Who owns the finished films?
You do, in full, for any use. We ask to show the work in our reel unless you'd rather we didn't — and if you'd rather we didn't, that's a yes, not a negotiation.
Do you run the ads too?
No. We make the creative and hand it over cut for your placements. If your media buyer wants to talk to us about what's working and what to make next, we'll take that call gladly — that feedback is what makes the next cycle better.
Anything not covered here, ask directly. You'll get a straight answer, including when it's no.
Ask a question2 sprint slots open this cycle
Send the brief.
One call, one direction document, one finished commercial — inside seven working days.
Start
Tell us about the product.
Send the brief and you'll get a reply within one working day — either a proposal with a delivery date, or an honest note about why we're not the right studio for it.
StudioRemote · working hours GST (UTC+4)
Email[email protected]
Capacity2 sprint slots open this cycle