OPINION: The Humble Photoshoot

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Fast forward from 2003 to 2019 - Client education is really the biggest challenge.

The superyacht marketing and media landscapes have changed significantly over the years and no better example of this is the humble photoshoot. The demand for content to satisfy the needs of the ever-hungry media machines and channels has created a demanding environment for all involved.

The 2003 Superyacht Shoot…The boat is 45m you have 3 days and I need photos of the guest areas, decks, aerials, and the boat at anchor and I need the results in a week

The 2019 Superyacht Shoot…The boat is 90m You have 3 days and I need photos and video of the guest areas, decks, aerials, the boat at anchor, underwater shots, all the toys and slides, drone shots, full lifestyle story with a family of six including some with a car or jet, a collection of photos and short films specifically for social media, oh and while you are at it can you take a few of the engine room and some crew profiles.. and I need the results in a week.

Second to actually securing shoot dates, satisfying all the demands is one of the single biggest challenges when it comes to ’The Shoot’ element of any superyacht marketing strategy.

To achieve the results demanded, client education is critical. It's always nice when our clients realise the risks associated with the ’I need everything’ approach and work with us to develop a strategy that identifies the deal breakers and works for all. Because the risk is with so many objectives in play none of them will be achieved 100%. Once a client understands this, timely planning becomes the next objective…more to come…

OPINION: Drones VS Helicopters


Drones VS Helicopters. Which one is best for a Superyacht shoot?

Each year our photographers and cameramen spend around 60 hours shooting superyachts from helicopters. Yet, we are often asked whether we can use a drone for aerial photography and filming instead. This can be for either budget or location reasons. So, we chose a few key factors relating to the photography and filming of superyachts and put the drone and helicopter head to head.

Please note, the drone in this review is the most practical and portable model for our kit, the DJI Phantom 4Pro. It delivers exceptional results for the intended purpose. There are some drones capable of carrying large camera payloads. But, in our opinion, they are not the best choice for the work we do.



Drones generally have 20-30 minutes of flying time and can only fly up to 400 feet, as per Civil Aviation Authority regulations. This means several battery changes for the flying time of an hour. That eats up valuable time and interrupts the flow of the shoot. The controlled range of a drone is another factor for the pilot to keep in mind. No one wants to lose a drone into the sea. The pilot must always be aware of the flight time and battery remaining.


A typical helicopter will be able to fly for two and a half hours at 135 knots for 300-350 miles on one fuel tank. The flexibility of a helicopter for uninterrupted shooting, altitude, and composition, provides greater variety of photos for the client. A helicopters flight capacity also makes it far better suited for running shots.

The Winner: Helicopter.



A drone has the ability to shoot video in 4k and 20 megapixel, but it is the size of the sensor that delivers the results. The bigger the sensor the more information you capture and the greater the quality. The type and quality of the camera lens is also a factor. The drones we use have a one-inch sensor and a fixed lens. Our preferred drone delivers excellent results for the final use of most of the photo and film we shoot.


Like most things in life you expect more when you pay more. When you are flying in a helicopter with over £30k of camera equipment and lenses at your disposal, you get more. Here the sensor quality and size, image quality, sharpness, and details are all at the top of their game.

The Winner: Helicopter.



Composition from a drone can be limited. The photographer can only really view the subject and surroundings via the drone’s screen. What’s more, our clients require both landscape and portrait photos. The drone can only shoot landscape.


The view from inside a helicopter is panoramic. This allows the photographer, and others, to anticipate changes in the light and the scene. Our photographer will have a variety of lenses on hand. They will also have the capacity to shoot landscape and portrait images. This means the composition options are almost endless.

The Winner: Helicopter.


The Weather


The best conditions for flying a drone is when it is sunny with a moderate temperature and little or no wind. This ensures maximum drone control and range. As wind and heat increase the drone has to work harder, so the battery drains faster. It also becomes harder for the operator to line up the best shots in windy conditions. Unfortunately the environment we shoot in can be very changeable. This often places a limit on what we can achieve with a drone.


Helicopters also have their weather-related limits, but these are more extreme. They can handle more wind and rain than a drone. In our experience, the weather has rarely stopped a helicopter taking to the sky. However, at times they do get buffeted around by the wind. The wind can also restrict the pilot's ability to manoeuvre as we need.

Winner: Helicopter.



Having a drone in the kit means that at short notice we can capture aerial photos and film. This allows us to take advantage of changes in the weather, light, and scene. The only limitation is that the use of drones is becoming increasingly regulated. We no longer take the drone to some countries.


Using a helicopter requires some forward planning. Booking the slot, time to get to the pickup point, time to fly to the boat, and time to get back after landing if needed. This can add half a day for just an hour of shooting.

Winner: Drone.


This is really what it's all about - what gives you the best result for the money you invest? To measure the return you need to go back to the objectives of the shoot. Consider how important the results are to the goals for marketing your business or yacht. Then you have to consider how and where you need to use the media to achieve your goals.

We believe, everything involved with marketing a superyacht has to be in keeping with the perception you want to create. A superyacht is the ultimate in everything. Therefore there should be no compromise in the media you use.

So it's no surprise, for us the winner is the helicopter.

But a drone is also a winner. It can be used for much more than aerial shots of a yacht. We use it on the yacht, in the yacht (try that in a helicopter), on the beach, on the streets. Anywhere we need to get extra creative angles. For us, that is when a drone comes into its own.

At the end of the day, whether its drone or helicopter, the result is only as good as the person taking the shots. :)


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Tune in next month for our feature: How your brands/yachts popularity can soar by placing people in photos.

For more information about regulations surrounding the use of drones see below:

Flying Unmanned Aircraft Systems (UAS) or Drones in the US:

Dronesafe UK:

Commercial use in the UK:

Flying Drones in France :



TITLE: “We want to charter the superyacht we have just built”

CLIENT: Golden Yachts

BRIEF: Golden Yachts have a pretty unique formula.  Not only do they build superyachts for sale, (aren’t they all) but, they have a clear mission of promoting them for charter via Atalanta Golden Yachts. So, unlike other builders, they knew they would need the film and photo resources to promote O’Ptasia in the competitive charter market for long after the shoot. This formed the essence of the brief – deliver us a lot of great technical and lifestyle media but wrap it all around an experience. 

CREATIVE STRATEGY: We realised the best way to meet the brief was to break the shoot down into scenes that can both stand alone or combine to form a complete story. To do this we specifically selected two models, who were friends with each other, so they would be 100% relaxed with the need to be flexible over the four-day shoot. We then concentrated on developing a full range of lifestyle and technical scenes. For the film, these scenes were to be linked through creative transitions inspired by the shoot.

CHALLENGES: As it turned out, the biggest challenge with this shoot was the rain and wind. It just goes to show that even in the Greek Islands nothing is certain. This really put pressure on everyone to deliver in the time we had available.  Fortunately, we had done the right planning pre-shoot and assembled the right team to make the shoot a success.

OUTCOME: Soon after the shoot the yacht and photos fought off the competition to hit the cover of Boat International and featured heavily inside, so we call that a result!  Since then we have gone on to supply the client a steady stream of custom edited photos and films to feed their social media machine. The great thing is, because we planned it right, there is still a large amount of content to come from this shoot.

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PROJECT: Radyca Brand Film

CLIENT: RADYCA Design - Miami. The only US designer to be featured in the Boat International 2019 Interiors book.

BRIEF: Hot on the heels of just completing the interior designs of the Heesen built Laurentia and the Benetti built Botti, designer Ramon Alonso knew he had to keep the momentum moving forward for his company RADYCA.  It turned out that RADYCA does more than ‘just’ superyachts. Ramon and his team have completed many land-based projects including apartment buildings, offices and cinemas.  So, with content from two yacht shoots in our back pockets we headed to Miami to shoot the complete RADYCA story.

CREATIVE STRATEGY: Upon meeting Ramon we soon realised his own story needed to form the basis of the creative strategy. So, we worked with him to develop and range of topics that he could sit and discuss with us while the cameras rolled. These topics and his views then drove what else we needed to capture to complete the big picture. Ramon’s team also became central to the story as it was clear his business culture is a great point of difference. 

CHALLENGES: The sweat on Ramon’s brow as he was put on the spot to talk about himself and his business was the biggest challenge ;-) ….  Whilst many on social media seem to love nothing but talking about themselves, it’s definitely not easy. Making the interviewee feel at ease and natural is by far the single biggest challenge when it comes to projects like this.

RESULTS: Two things helped us overcome the challenge of Ramon’s brow – a genuine interest in him and his business plus making the whole filming process fun and relaxed.  We often find possessing these abilities will ensure the results begin to flow.  What was more important in this case was the culture at RADYCA was clearly fun and relaxed, so we needed to convey that in the film.

OUTCOME: We produced a main film and some shorter versions for social media. By pulling in key content to support Ramon’s words the films guide the viewer through the story of his business. We hope you enjoy it.

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PROJECT: Moonen Yachts

CLIENT: Moonen Yachts

BRIEF: Create a film to support the launch of a new phase in the Moonen brand development. This new phase shifts their marketing focus towards the demographic defined by the ‘Modern Gentleman and Woman’. This target market is younger than their traditional market.

CREATIVE STRATEGY:  Traditionally, superyacht builders tend to focus their brand films on who they are, what they do, why they do it, their yachts, their people, their skills and how all of these benefit potential clients.  In keeping with Moonen’s change of focus, away from their traditional market, we suggested a departure from the traditional superyacht builder brand film. Something that doesn’t focus on yachts and shipyards. With this in mind, the concept of family separation ending in the one perfect place – a Moonen yacht – came to mind.  The separation would come to life through two different journeys.  Each journey would allow Moonen to associate their brand with the target profiles – a successful, self-made couple with a keen sense of style who appreciate the qualities that come with a Dutch built yacht. A couple who value their time together as a family, above all else, and how their Moonen yacht simply fits the life they want.

CHALLENGES: Like many projects, the creative idea sounded simple but, like many, the execution was not without its challenges – time, budget and resources were all stretched to the max on this one.  For the idea to really work we needed two different starting locations, plus they needed to identify with the target market.  We also wanted to use different forms of transport and brands to associate complementary brand values, and perceptions, to help illustrate the world Moonen yachts and their owners live in.

THE RESULT:  London was selected as one starting point to illustrate the separated, busy and hectic life of a successful international businessman.  A family villa in the French countryside was used to illustrate a quiet family base.  The separation depicts the life of many in today’s world.  The story develops to leave this life behind and to be together as a family, because this is more important, above all else.  The journey ends showing how it’s their Moonen Yacht that is the one place in their life they choose for this special reunion.

THE OUTCOME: A 2min 30sec film supported by two shorter versions for social media use and a collection of photo images to support the strategy.

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PROJECT: Millennium Cup Regatta


CLIENT: New Zealand Millennium Cup Regatta 2019

Ok, so this event may currently be the smallest superyacht regatta around but heck it definitely punches above its weight when it comes to relaxation, fun, and destination magic.  What’s more, with the America’s Cup, taking place in NZ early 2021, this regatta is going to be the one you have to be at.  I guess coming from New Zealand we are little biased but, having also regularly been to every other superyacht regatta over the last 15 years, we have earned the right to an opinion.

We cut our teeth at this regatta back in 2003 and have been shooting it ever since. Now as Silver Sponsors we continue to make this a permanent fixture in our shooting calendar.  When it comes to shooting a regatta the greatest challenge, and yet also the greatest buzz, is how nothing can be planned.  You have to roll with what’s in front of you, then use your wits, and your experience, to put yourself in the best possible position to get the perfect shot.  Unlike brand shoots or yacht shoots there is no script or shoot list.  Whether it’s from a helicopter, a rib, on-board or on land, you have to make it work and we love it.

Enjoy this collection of images from earlier this year. If you would like any then check out our media bank at: where they are available with a 30% discount for a limited time.

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CLIENT: Various

BRIEF: The owners brief was ‘Build me a Beast’, a high-performance sailing yacht. This was then skilfully interpreted by the designer, the late Ed Dubois, and the builder Royal Huisman. Sails and uniform were supplied by North Sails. The result is Ngoni not only makes a statement in looks, but also in performance.  We needed to convey both of these attributes in the film and photos produced.

CHALLENGE: Shooting for a number of clients we needed to find a balance with their individual requests and the reality of only being able to shoot the yacht once. Coming in at a length of 58m another of the challenges was to create a sense of scale and performance. So, it was going to be important to include crew on deck while sailing at speed.


Photography: We captured the reflective surfaces in the hull, the symmetrical lines and glass of the superstructure to really showcase the ergonomic nature of the yacht.

Film: We needed to create a contrast between a luxurious yacht and a sailing beast. To do this the film begins by approaching the yacht in the calm of early morning and takes the viewer on a relaxed journey through the yacht. We then make a fast-paced transition across the water to the yacht under sail in all her glory. When the yacht is in full frame the crew come in to shot and the viewer gets a sense of her magnificence. A highlight being when a crew member scales the 71m mast to stand on the top creating a real sense that this yacht is not for the faint hearted.

OUTCOME:  550+photos, 1 Yacht film and edits including 2 social films and one for awards. 20+ articles have been published using the photos, including Robb Report, Elite Traveller and

SPECIAL NOTE: Although the sailing yacht market has retracted in recent years, photos and films of sailing yachts generate a disproportionate amount of interest.  Our work for Ngoni was no exception with the films achieving more than 100,000 views.


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PROJECT: Bannenberg & Rowell

CLIENT: Bannenberg & Rowell

BRIEF: To create a film that clearly communicated the culture and ethos of Bannenberg & Rowell. The film was to be something they could use as part of the pitch process.  ‘Human and humour’ were the words they gave us - the shortest brief we have ever received.

CHALLENGE: There were two challenges for us:

1) The main challenge lay in finding a style of filming that matched the personality of the business and complimented Dickie and Simon’s words. They are so eloquent that it was not difficult to get the right words out of them (although sometimes it was difficult getting short answers :-)).

2) There was also the challenge of balance. The film needed to communicate the heritage of the company and the fantastic foundation created by the late Jon Bannenberg balanced with how the company has evolved under the leadership of Dickie and Simon.

CREATIVE STRATEGY: We began by writing an interview that would shape the film and communicate some of the DNA of Bannenberg & Rowell.  Then we employed a style of filming that consisted of many handheld shots, some shifting focus, together with abstract shots to deliver a personal touch and communicate the studio’s creativity in a visual way. We also selected an edgy backing soundtrack to match and enhance the visuals.

At the start of the film we incorporated some old footage with a voice over by Jon Bannenberg, supplied by Dickie, to give a sense of the heritage of this studio. We then very quickly turned the focus to Simon, Dickie and the culture of the studio today.

OUTCOME: A 2.5 minute film that Bannenberg & Rowell have been using privately to promote their studio.

FEEDBACK FROM CLIENT: "We love the film the Breed guys made for us (apart from hearing the sound of our own voices). We were very keen to avoid corporate stuff and / or fake shots of people earnestly studying drawings and samples which can often be a default with these videos. Breed avoided all these traps and have made us something we are happy to show our clients." Dickie Bannenberg.


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OPINION: Breed Media Bank image licences


Rights Managed and Royalty Free image licences

To make the most of stock photos it helps to understand the difference between the two main licensing options: Rights Managed (RM) and Royalty Free (RF). The Breed Media Bank, and most stock photo libraries, supply their images with one of these two licenses. These licensing options each have their own benefits and work differently from each other. Photos are licensed because you are buying the right to use the photo – not the photo itself. The photographer who created the photo is still the owner of the photo. The copyright is always with the person who created the photo.

Royalty Free (RF)

A Royalty Free licenses places very few restrictions on the use of an image. It allows multiple and unlimited use of an image and is not exclusive. The purchaser pays a one time fee for the license and can then make perpetual use of the image in all the permitted ways. So, the licensed image can then be used freely for your marketing material, website, brochures, PDF’s etc. These images are generally called royalty-free Because royalty free images are not sold exclusively an unlimited number of licenses can be sold for the same photo. Images sold under RF are usually priced low and at a flat fee, they can also be distributed across stock photo agencies. This means the image license may be purchased by multiple people in different companies and brands who can all use the image at the same time in different ways. The image is licensed because you are buying the right to use the image in multiple ways for a one-time flat fee. So, you pay for the licence once but can use the image forever within accepted ways.

Rights Managed (RM)

The rights managed license outlines how, when and where the image can be used this assures the purchaser of the image a level of exclusivity. When purchasing a rights managed license there could be specific time and geographical limitations as well as specific and per-use rights. The license only covers the consigned use, to use the image in another way a new license is needed. The price for a license varies according to its intended use. Depending on the photo the price can vary significantly. For RM photos there is a more detailed buying process. Because of the custom, set, specific rights a buyer acquires over a RM image they are generally less widely available, and you are less likely to see duplicates in use simultaneously. Rights managed photography can provide a level of protection to the image purchaser. The seller of the photograph, when made aware of the intended use of the image, can alert the buyer to any possible conflicts in image use. The arena of brand confusion can be bypassed by using rights managed licensing. If you can be clear on where you want to use photos sometimes it can be more cost effective to purchase the rights managed photo for a specific use rather than paying more for a royalty free image which you end up only using once.

As the need for stock photography grows both rights managed and royalty free licensing models both have key roles to play. What you choose to purchase ultimately comes down to what the image will be used for and the level of exclusivity required. If you need any help with this when using the Breed Media Bank please contact

PROJECT: The St Barths Experience

CLIENT: St Barths Bucket Regatta

GOAL: To produce a film that will firstly help grow the St Barths Bucket further, and secondly help attract new people to the lifestyle only a superyacht can provide. 

OBJECTIVE 1: Illustrate how time spent in St Barths during the St Barths Bucket is not just about three days of epic superyacht racing. It is a unique lifestyle experience for participants, guests and visitors alike. 

OBJECTIVE 2: To create a digital marketing campaign so the film is viewed by the target market and the desired message is communicated. 

CHALLENGE: Sadly, Hurricane Irma created a number of logistical challenges for this shoot with many destinations not available for filming. 

CREATIVE STRATEGY: St Barths, during the Bucket Regatta, offers a multitude of experiences. From luxury fine dining, shopping and relaxed beaches, to more adventurous pursuits like quad biking and water sports through to racing and partying onboard superyachts. With the Bucket Regatta as a backdrop, we followed two women on different journeys of experiences to their ultimate rendezvous onboard a superyacht. 

OUTCOME: We produced a 2.5-minute hero film and customised shorter edits for specific social media channels and wider online promotion. The objective of the shorter edits is to introduce viewers to the St Barth’s experience and encourage them to view the longer film. Note: A future edition of RAWfile will discuss the results of the marketing campaign.


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PROJECT: Cyclone

CLIENT: Tansu Yachts

BRIEF: The aim of this project was to create film and photographic content to support the clients campaign of promoting the Tansu Yacht brand to the emerging millennial market.  

CHALLENGE: The weather was by far the biggest challenge of this shoot. Cloudy skies, rain and rough seas limited the shooting dramatically. 

CREATIVE STRATEGY:  To appeal to the millennial market we chose an edgier style of music. We also created a brand association by incorporating a customised Land Rover Defender from Ares Design. When these elements are combined together with the iconic Tansu Yacht the film takes on a youthful,  adventurous edge.   

OUTCOME:  A film with a captivating start drawing the audience into a journey to the yacht then continues onboard and from the air. Along with the film we also supplied over 600 photos. This shoot was featured by Boat International on their July cover and we hope to see it featured on other covers soon. 


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OPINION: 5 benefits of using models

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Those who embark on superyacht photo and film shoots will find themselves evaluating the use of models. Here we look at the top five benefits.


1.    Bring a yacht to life and engage the viewer

Thanks to their design and craftmanship, film and photography of a superyacht is impressive even without models. But, when you add models you not only capture the beauty of the yacht you also bring it to life. A life the viewer can begin to see themselves as part of. What’s more, if the models have been carefully selected to identify with the target market demographics then the viewer begins to engage their imagination even more and starts to live the experience. This engagement can be a powerful tool in helping achieve your marketing goals.   


2.    Broaden the message and deliver a higher value proposition

You are selling both a beautifully designed yacht, and also the lifestyle. Both of these elements affect the purchasing decision. By adding models to a shoot, you are combining each element and appealing to the audience on multiple levels, this delivers a much stronger value proposition to your target market.

Models also allow you to capture the attention of a wider audience. Some audiences are more captivated by the yacht design, some by the lifestyle and some by both. 


3.    Gain more media exposure

Good quality superyacht photo and film content are always in high demand by the media especially by the ‘all you can eat’social media channels. Lifestyle images and film featuring professional models will increase your chances of being featured because the content appeals to a wider audience. Perhaps more importantly, it provides you opportunities to gain exposure to new markets via luxury lifestyle media and social channels with their millions of followers.

You can also benefit from exposure by suppliers. organisations and trade events who often require media with models to promote both their product and the superyacht lifestyle. Many such companies will ask permission to use your media content for this purpose and credit you as well. This again increases the promotion of your brand.


4.    Trigger an emotional response

The use of models always engages an emotional response from the audience. We are emotional beings and use both rational and emotional thinking during the purchase decision making process. The superyacht purchase or charter is especially driven by emotion so the more you connect with your market on an emotional level the higher the chance they will contact you.  


5.    Use storytelling to cut through the marketing clutter

The use of models can go further than simply bringing life to a yacht and brand. It can also create the opportunity for storytelling. Storytelling has become one of the most effective way to cut through the marketing clutter, communicate you brand story and differentiate yourself from your competitors. When your brand story is about people and the way your brand and product deliver what they are looking for, then the use of models will introduce a strong engaging element that strengthens the message through human connection. 


Ultimately whether you choose to incorporate models on a superyacht film and photo shoot comes down to: 

1.     What is the aim of the content you are creating and does the use of models benefit the overall goal of this marketing material? 

2.     Is the use of models likely to bring a significant, and therefore justifiable, return on investment? 

We hope the above benefits help you to answer these questions.



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OPINION: 5 steps to an effective film production

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5 steps to an effective film production

Here are a few elements worth considering for those who may have limited experience with film projects.

Set your goals and provide a good brief

The biggest gift you can give to a production team is a solid brief. You can work with them to develop one if you need guidance. As long as the brief is set before production starts you give yourself the best opportunity to get the film that you would like, at the budget you would like.

Choose your production team carefully

Employ the right team for the job. Check their previous work, especially the work they have produced to a similar budget as yours. Most importantly, make sure the team understand your industry and your audience, so they can fully grasp the strategy and outputs required to achieve the desired results. If you simply employ a camera operator, you may have a lovely looking film, but it may not speak to your audience, which will reduce your return on investment.

Realise you are part of the team

From pre-production through to post-production, you are a valuable film team member and need to act like one. The production team will require your assistance throughout the process, including the prompt supply of resources such as logos, on location insight and prompt/thorough feedback during post production. Delays in any part of this can increase the cost.

Evaluate expenses in light of their benefit

Big decision such as whether to incorporate models need solid consideration. You may be instantly put off by the cost, but when you evaluate the benefits, especially the return on investment, then you put yourself in the best position to make a decision that fits your desired goals.

Be bold were it is needed

Some films may simply be educational and have less need to stand out, so set an appropriate budget for this. Generally, companies in the superyacht industry benefit from being bold. We operate in an increasingly clustered market with thousands of yachts that perform the majority of the same functions. Superiorly creative and bold film concepts will ensure you create more awareness than your competitors. More work on a creative strategy and dynamic film ideas can increase the budget but also deliver best investment return in both brand positioning and awareness.

Our final piece of advice is to make sure you enjoy the process; film projects should be fun. We hope the above helps. We wish you the best for your future film projects and please don’t hesitate to call us if you think we can assist.

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OPINION: How much to spend on film?


How much to spend on film? The BIG three production costs explained

Film is becoming the most effective way to engage with an audience. The big question all companies are asking is: how much should we spend on film? This is a difficult question to answer for companies who have never invested in this medium. Cost of film production varies dramatically. The below contains some insight into what drives production costs, as well as providing tips to achieve an effective and cost friendly film process.

Production costs – the BIG three

Many elements drive the cost of film production, below are the main three:

  • Time: A lot of time is taken up in preproduction, production and post production. Time is money in film production and the amount of time allowed for directly impacts the quality of the output.
  • Team: There are many options for the production team selected as well as the models/actors.  The level of professionalism is strongly linked the budget and the desired quality of output.
  • Location: The more remote the shoot location, the higher the cost.

Explaining the BIG three

  • Time

    Preproduction is all about taking the time to evaluate what you want to achieve and how best to achieve this. Taking time to evaluate the brand strategy and then develop a film concept that compliments this is invaluable. The creative strategy takes time but gives you the best chance to develop a concept that is unique and truly captivates your audience.
    Note: Different types of films require different levels of preproduction. Some need very little.
    There are many elements to evaluate and organise for a superyacht shoot, including location, helicopter, models, styling, dressing of the yacht etc. Again, the more time you allow the better the final output. For example, allowing a good amount of time for location scouting means you will have the best areas and best shots possible for the film.

    On Location Shooting:
    Allowing an appropriate amount of days to shoot is very important. If you reduce the amount of days, you limit the amount that can be shot - it’s as simple as that. You also risk limiting the quality as there will be less time available for setting up each shot.  Less shooting time often either requires reducing content expectations, increasing the size of the team or both.

    Post Production:
    It is important to allow enough time for post-production of the media. The biggest opportunities for saving time come in the form of the initial brief and feedback. If a solid brief is provided as well as quick/collative feedback, then the postproduction is smooth and timely.
  • Team 

    An experienced film crew and experienced models/actors will significantly benefit the final output. Saving money on both of these will be reflected in your final outputs.

    The more professional the film team the more certainty and peace of mind you have regarding quality of output as well as making entire process easier. Professional teams come with the best equipment for the job, market knowledge and production experience to ensure a high-quality film that communicates the right message.

    Despite what some think, modelling/acting is not an easy business. It is well worth spending money on professional models to ensure you get the level of professionalism that will deliver high quality results with as few re-takes as possible.
  • Location

    Generally speaking the further you travel, and more remote the location, the higher the cost. Beautiful, different and remote locations can increase the chance of a visually amazing film and will also help widen its audience, but that comes at cost.  If aerials are needed, then the cost of the helicopter with an experienced pilot can be significant the more remote the location. The wrong helicopter and inexperienced pilots can limit what can be achieved. So, while remote locations are great and produce impressive backgrounds, they need to be evaluated carefully.

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PROJECT: Khalilah - Be Legendary

CLIENT: Camper & Nicholsons International

BRIEF: To create a film showcasing the unique superyacht lifestyle for an owner or a charter guest. To concentrate less on the actual yacht, and emphasise that life aboard is fun and relaxing. A place where guests can chill out in a unique environment. 

CHALLENGE: The biggest challenge was to achieve the brief with only one model. We also wanted to move away from the often static use of a single person onboard.

CREATIVE STRATEGYTo overcome the challenge we focused on two elements. One: the music. We chose a powerful track that is unconventional for this industry. It commands attention. Two: we had the model work with the camera as if she was looking at another guest, and enjoying the company. The viewers feel involved in the film, like they are present with her. This instantly helps engage the audience. 

OUTCOME: Film: A flirty and fun film that appeals to the lifestyle of being aboard a superyacht. For our client this film is a great success with over 100,000 views across four social media channels and the website within the first month. Photos: Over 300 lifestyle photos were produced for the client. These are being used throughout their communication strategy.  

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PROJECT: Yalikavak Marina


CLIENT: Palmarina, Bodrum Turkey. (Recently changed to Yalikavak Marina)

BRIEF: The objective was to create video and photo content to help communicate the experience superyacht owners can enjoy while staying at the marina. To achieve this, we needed to show a couple experiencing the benefits of the marina’s location, guest amenities, and attractions. The results would be for use across digital, print and social media platforms.

CHALLENGE: This marina has a plethora of amenities. There are 620 berths, a beach hotel, a boutique hotel and eight restaurants and bars. There is also a mall with 102 shops, a museum and gallery, nightclub, morning health clubs a gym and a spa. Not only that, there is a lot to do in the surrounding area. So, the challenge was how to incorporate so many locations and elements into one shoot. It required a huge amount of pre-production planning including model selection, storyline development, and developing a shoot sequence. Palmarina had many guests and staff at each location so we had to ensure that we only had the right people in the shot and did not disturb the guests.

CREATIVE STRATEGY: We worked with the client to develop a story involving a romantic couple. The story was to showcase the marina’s resort lifestyle in an interesting and engaging way. There were so many elements to incorporate and we needed to be mindful of keeping the audience's attention. For this reason, we aimed to only give a taste of each location. The shots needed to convey the experience of Palmarina, be artistic and captivate the audience.

OUTCOME: Film: The film shows three days in Palmarina condensed into four minutes. The film is ideal for web and reception use. We also produced numerous short films for their social strategy.

Photos: The client received over 350 photos of the location and the couple enjoying the services provided.

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