The original craft. Still the heart of the studio.
Serenity started as a video practice in 2013. Thirteen years on, video and motion are still at the center of what we do — campaign films, documentary, explainers, and the kinetic typography that runs underneath nearly everything else we ship.
Nine flavors of moving image.
From a sixty-second campaign spot to a fifteen-minute documentary, motion graphics threading through the marketing year. All shot, edited, scored, and finished in-house or with named collaborators.
Sixty seconds to three minutes. The flagship pieces that anchor a campaign across web, social, and event.
Longer-form storytelling. Grantee features, mission films, the pieces that ask a viewer for ten minutes and earn it.
Internal and external. Animation, screencast, hybrid live action — whatever the subject calls for.
A recurring genre we know well. A year of work told through the people whose work it actually is.
Kinetic typography, data animation, lower-thirds, transitions. The connective tissue across nearly everything.
Title cards, opens, micro-motion for digital products. The small motion moments that signal craft.
Frame-by-frame, rigged character work, motion design. Style follows the brief, never the other way around.
In-house color, sound polish, conform. The work the audience never sees but always feels.
Music supervision, original score with trusted composers, sound design for film and digital installations.
Brand clarity isn't a service we sell — but films almost always need it before the camera turns on.
What story is this film actually telling. Whose voice does it speak in. What does the audience already know, and what do they need to know by the end. Most of the films we make are better than the brief that asked for them, because we did this work upstream.
We do that work inside the engagement when it needs doing. We don't bill it as a separate phase, we don't sell it as a deck. It happens through the execution, and the film ships on a foundation that holds. It's often the most valuable thing we ship.
Work across the long relationships.
Most of our video work lives inside longer client engagements. Three examples below; the rest live on the client hubs.
Five phases. Discovery is the one nobody skips.
Discovery & treatment
Who is this film for, what does it need to do, and what story is actually under the brief. We write a short treatment — a paragraph or two, not a deck — and align before anyone touches a camera.
Pre-production
Scripting, casting, location, schedule, crew. The boring careful work that makes the production days possible. We staff with named collaborators we've worked with for years.
Production
Shoot days. We direct, often shoot, and size the crew to the project — lean for focused jobs, full teams on bigger ones. We protect the schedule but stay open to the moment the subject does something better than the script.
Post — edit, color, sound
Story-first cuts before any polish. Then color, sound design, music. Two rounds of client revision is the norm; more if the work demands it.
Delivery & afterlife
Masters and cutdowns for every channel the film needs to live on. Captions, alt formats, the practical assets that let the film actually work after the launch day.
Questions that come up early.
Mostly about how we work, not what we deliver.
Do you have your own crew?
We direct and often shoot. Beyond that, we work with a tight, named group of collaborators we've been partnering with for years — DPs, sound recordists, gaffers, editors, composers. We size the crew to the project, not the other way around. Names go in the credits.
What format and delivery specs do you support?
All the common ones — broadcast-grade masters, web-ready cutdowns, social-platform formats (vertical, square, 16:9), captioned versions, alt-text descriptions. Accessibility deliverables are part of the standard scope, not an add-on.
Can you work with footage we already have?
Yes. Edit-only and motion-only engagements are real projects we take on — recutting an archive, scoring a piece that's already shot, animating an existing keynote into a film. We won't pretend we shot it. We will make the existing material work harder.
How do you handle music?
Mostly through music supervision — licensed tracks from quality libraries, supervised against the cut. For pieces where the score matters as much as the story, we commission original music from composers we know. Either way: cleared, documented, deliverable.
Do you do animation-only projects?
Yes. Motion design, 2D animation, kinetic typography for digital products — all live work for us. Our craft runs through both live-action and motion; the line between them isn't load-bearing for the studio.
Have a video project in mind?
When you email us, you're emailing the people who'll do the work — not a business development team.
hello@serenitystudios.com