Less guesswork. Better creative handoffs.

These are planning boundaries, not fixed packages. Use one row or combine several in an agreed scope. Name an owner for each task; leaving a responsibility blank does not make it part of a creative fee.

A finished asset is a production deliverable. A booked call, purchase or activated user is an outcome that also depends on the offer, audience and customer journey. Do not make the approval of one depend on an undefined promise of the other.

1. State the job: name the buyer, situation and single action the creative should support. Include a live product or destination link.
2. Inventory what exists: list footage, screen recordings, brand files, product photography and permission records. Mark missing assets instead of implying they are ready.
3. Count deliverables clearly: separate creative concepts from versions, aspect ratios and languages. Decide whether editable project files are required.
4. Assign approvals: choose one feedback owner, identify product or legal sign-off and agree revision rounds. A changed offer after approval may be a new scope.
5. Explain timing: distinguish a desired launch date from a deadline that depends on product release, missing files or external approval.
6. Separate budgets: clarify production, licences, filming, media buying and ad spend. This site does not publish a universal price or guaranteed turnaround.

Bring unanswered questions to a conversation. “Not available yet” is more useful than guessed costs, invented performance numbers or an approval date no one owns.

Already know the goal? Copy this short request into your own document or email and replace the prompts. It summarises the checklist above; it does not replace an agreed scope. Write “not available” where an answer is missing.

Product link: [public product or destination URL]
Audience and goal: [who this is for and the action they should take]
Service needed: [paid-social creative / short-form editing / app launch / unsure]
Existing assets: [footage, timecodes, demo recordings, brand files; note gaps]
Deliverables: [concepts or clips, placements, versions and languages]
Usage rights: [permitted uses and any permissions still needed]
Timing and dependencies: [target date; files or approvals still outstanding]
Approval owner: [who consolidates feedback and signs off]
Budget boundaries: [production range if known; media spend kept separate]
Open questions: [what you need help deciding]

Add the detail that changes your scope

• Ad concepts: say whether you need new messages or versions of an approved concept. Count concepts separately from exports. Check the paid-social creative quote checklist.
• Existing footage: note source length and condition, whether you will supply timecodes, and whether captions or editable files are needed. Check the short-form editing quote checklist.
• App launch: identify the approved release version, available demo screens and destinations for each asset. Flag screens that may still change. Check the app-launch creative quote checklist.

For example, “three clips from a supplied interview, timecodes provided, one caption language; posting excluded” is clearer than “three social videos.” This is an illustrative scope description, not a package or a promise that every interview contains three usable clips.

Keep credentials, private customer data and unrestricted asset links out of an initial enquiry. A public product link and an asset inventory are enough to start; agree a suitable file-sharing method separately.

Prefer a call? Bring these notes to the booking option on this page. Copying the request does not send it to Famekite, and the email link only opens your email app. You choose what to share and when to send it. Deliverables, rights, revisions, timing and commercial terms still need written agreement.

Before using a result to choose a direction, ask what it actually demonstrates. Our self-initiated creative concepts show visual execution, not client campaign outcomes. Our client stories preserve client-reported experiences rather than claiming independent measurement.

• Source: is the statement from a client, an ad-platform export or an independent analysis?
• Definition: does “conversion” mean a lead, purchase, registration or activated user?
• Context: are spend, timeframe, channel mix and offer changes known?
• Comparison: was only the creative changed, or were several variables changed together?
• Limit: what information is missing, and what decision can the evidence reasonably support?

For example, the AI coding company testimonial includes a reported acquisition-cost change but lacks a reporting period, channel mix and measurement method. Read those limits alongside the statement; it is not a forecast for another business.