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Portfolio page lists 20 named engagements including Netflix (Squid Game: The Challenge S3 VIP trailer, '10M+ views'), L'Oreal ('15 YouTube Videos & 90 Shorts'), National Geographic, QuickBooks, Daily Mail and Remitly, and the Netflix case-study page describes end-to-end production of one asset in four aspect ratios. However, no videos could actually be viewed first-hand - portfolio tiles are static thumbnails and the case study shows only a GIF preview - and all client attributions and view counts are self-published, so the dimension is capped at Adequate per the corroboration rule.

What this dimension measures: The primary reason to hire a production agency. Look for a body of work that is current, attributable and recognisable, with named clients whose brands carry real standards. Distinctive, consistently high-quality output for demanding clients scores 4-5. Competent, generic output scores 3. A portfolio dominated by work more than two years old scores 2 — the team that made it has usually moved on. Where reviewers independently credit narrative or storytelling ability rather than just delivery, weight that: turning a complex proposition into something clear is the hard part of this job. Counts for 25% of the weighted score.

Evidence: vendor stated — the agency’s own claim, recorded as theirs rather than ours.

Unusually public anchors for this category: YouTube video production listed at $9,000 USD/month, social-first video production at $8,000-$10,550 USD, product photography at $8,000/month, and a stated retainer range of GBP 5,000-20,000/month for YouTube growth. Not Excellent because the site's own FAQ undercuts the anchors ('Video can cost GBP 500, it can cost GBP 50,000'), revision counts and what the subscription includes are not itemized, and most lines are retainer subscriptions requiring a consultation for the real number.

What this dimension measures: Published prices, published ranges by video type, or fixed productized packages score 4-5, and an all-inclusive fee that covers script, music, narration and revisions scores at the top of that band because the quoted number is then the real number. Ranges given only on request score 2-3. Bespoke-only quoting with no public anchor scores 1-2. Score scope clarity alongside price: a vendor that states plainly what it does NOT do — no shoots, no strategy, animation only — is more useful than one implying it does everything, and should not be penalised for the boundary itself. Counts for 20% of the weighted score.

Evidence: vendor stated — the agency’s own claim, recorded as theirs rather than ours.

A multi-stage process is described on service pages (strategy/ideation, casting, scripting, filming, post-production, distribution, analytics) and the Netflix case study cites ideation-to-sign-off in 7 days and edit delivery within 48 hours of filming. No collaboration tooling or approval gates are named, and no independent reviewer commentary on communication or on-time delivery could be read first-hand (Clutch profile has zero reviews), so this cannot rise above Adequate.

What this dimension measures: Video projects fail on coordination far more often than on craft. Look for a described process, named collaboration tooling, defined approval gates, and independent reports of on-time delivery. Reviewers consistently citing clear communication and structured workflow score 4-5. No described process and no reviewer commentary scores 2-3. A vendor whose reviews mention schedule slippage or unresponsive periods scores 1-2 on verified evidence. Counts for 15% of the weighted score.

Evidence: vendor stated — the agency’s own claim, recorded as theirs rather than ours.

Both live action and animation are offered as named lines: a dedicated London animation studio page (2D animation, explainer video, motion graphics, with QuickBooks, Sumsub and HeatGeek named), global location filming (Switzerland, New Zealand, the Netflix celebrity shoot), short-form for TikTok/Reels/Shorts, product video and product photography, with multi-aspect-ratio delivery evidenced by the Netflix 'x1 video in x4 aspect ratios' engagement. Range claims are self-published but consistent across many distinct service pages.

What this dimension measures: What the agency can actually produce: live action, animation (2D/3D), motion graphics, studio versus location, and the format and aspect-ratio coverage needed for where the video will run. Both live action and animation, across multiple formats, scores 4-5. A single modality scores 2-3 — not a defect, but a real ceiling that the buyer must match against the brief. Animation-only vendors in particular cannot serve briefs that need people on camera, and that should be stated in the verdict rather than discovered later. Counts for 15% of the weighted score.

Evidence: vendor stated — the agency’s own claim, recorded as theirs rather than ours.

Complete silence. Neither the YouTube production page, the social-first page, the services index nor the FAQ content says anything about who owns the final files, raw footage or project files, or how long music, stock and talent licences run. The sitemap shows no terms page beyond a privacy policy. A buyer must resolve this before contracting.

What this dimension measures: Who owns the final file, the raw footage and the project files, and for how long the music, stock and talent licences run. This is where video differs most sharply from design: a licence that expires, or talent usage limited by term and territory, can make a video unusable in year two. Explicit ownership transfer with stated licence terms scores 4-5. Finals-only delivery scores 2. Silence scores 2 and should be raised before contracting, since retrospective clearance is expensive. Counts for 10% of the weighted score.

Evidence: inferred — our reading of indirect evidence, not a documented fact.

Stronger here: Epipheo scores Strong on the same dimension.

Partial disclosure: the homepage states projects 'typically take 4-8 weeks' and the social-first service lists a 4-6 week turnaround, which reads as an honest estimate. But the flagship YouTube production page publishes no timeline at all, and nothing is said about how far out the studio books, so disclosure is inconsistent across services.

What this dimension measures: Stated timelines from brief to delivery, and how far out the agency books. Fixed, published timelines score 4-5. Multi-month cycles are normal for high-end work and score 2-3 — score the honesty of the estimate rather than the length, since a realistic twelve weeks beats an optimistic four. Undisclosed scheduling scores 2. Counts for 10% of the weighted score.

Evidence: vendor stated — the agency’s own claim, recorded as theirs rather than ours.

Clutch profile exists and was read first-hand: zero reviews, 0.0 rating, no disclosed project sizes. DesignRush's profile displays a Google Maps rating of 5.0 from 26 reviews, but the Google review page itself could not be read first-hand, so that figure is second-hand and uncited in the ratings. No readable verification-requiring review base was located despite the site's claim of 153 clients.

What this dimension measures: Volume and recency of independent, verified reviews. A substantial base on a verification-requiring platform scores 4-5; a handful of reviews scores 2-3; none located scores 2. Low weight deliberately — in this category a portfolio is more informative than a review count, and several excellent production shops have almost no review footprint because their work arrives by referral. Counts for 5% of the weighted score.

Evidence: partly checkable — corroborated in part against the sources below; the remainder rests on the agency’s own account.

Stronger here: Vidico scores Excellent on the same dimension.