Prices, in public.
The whole ladder, the number that sets the pace, and both guarantees. A call is for working out which size fits, not for finding out what it costs.
USD / monthly rolling / no annual term
The queue is the product. The tier is how many things it works on at once.
You are not buying a number of videos. You are buying how many angles Second Unit has in production for you at the same time. Everything else about the way this runs is identical for every client on the list.
01
Put everything in the queue
Every angle you want tested goes in, whenever you think of it. Nothing is counted and nothing is rationed, and that includes revisions - a studio that meters feedback teaches you to be polite instead of useful.
02
We work the queue
A set number of angles is in production at any moment. That number is the tier you pick. When one ships, the next one in the queue starts, and you can reorder the queue whenever priorities change.
03
The queue always moves
Every angle in flight moves every working day, and an angle takes about a week from brief to finished variants. The queue is a wait for your turn, never a wait for us to start.
Four sizes of the same studio.
Angles in flight is the first line on every card because it is the number that governs your week. The video figure underneath it is what that pace usually produces, not an allowance you spend down.
One
~30 videos a month, typically
$2,950per month
Best for: One product, one market, one argument at a time.
Three
Right size for most~90 videos a month, typically
$5,950per month
Best for: A paid social account that needs new creative every week.
Six
~180 videos a month, typically
$9,950per month
Best for: Several products, several markets, tested against each other.
Custom
Volume quoted with the work
Quotedper project
Best for: Brand films, launches, identity and motion systems.
In every tier
Prices are USD. Every tier goes through a fifteen-minute call before anything starts, so nobody buys the wrong size.
- Angle strategy, written from what is already selling
- Scripting, direction and the edit
- Variants per angle: hooks, lengths, formats, aspect ratios
- Publishing straight into your ad accounts
- A performance read on what ran, and the next angle it argues for
- A brand system that hardens over the first month against live tests
90 is what three angles produce when everything goes wrong.
An angle takes about a week end to end and yields ten variants, so three angles in flight is closer to 130 videos in a good month. The published figure is 90. The difference is deliberate: it is the room a cut spends waiting for sign-off, an extra revision round nobody planned, and the week something goes wrong.
Quoting the good month would mean quoting a number that only holds when every approval lands the same day. Nobody has that month every month.
- 1 week
- from brief to finished variants, per angle
- 10
- variants an angle yields
- ~130
- videos three angles produce at full pace
- ~90
- what the site publishes for three angles
The service is the same at every tier. You are only deciding how much of it you want running at once.
The daily guarantee
Every angle in flight moves every working day. Something you can look at, not a status update. If we miss a day, you don't pay for it.
Movement means work you can open: a cut, a set of hooks, a revision back in review. A message saying it is coming does not count, which is the difference between this and a project tracker.
The clock stops while an angle sits with you. That carve-out is the useful half of the guarantee, because it names the one thing this arrangement asks of you.
Approving quickly is your whole job
An angle that clears review the same day cycles in about a week. An angle waiting two days for sign-off cycles in nine, and the days it spent waiting are not days Second Unit missed. Clients who look at work the morning it lands get materially more out of the same tier than clients who batch reviews on a Friday. It is the only lever you hold and it is a big one.
The three-month option
Commit to three months. If we haven't beaten the hook rate of your best-performing existing ad by the end of month three, month four is free.
Three months is not a lock-in dressed as an offer. It is how long creative testing takes to prove anything: the first month buys data, the second buys the angles that data argues for, and the third is where a winner shows up or the approach was wrong.
Taking that term is optional. The monthly rolling terms below are the default and nothing about the work changes either way.
- One metric, one named ad
- Hook rate against a specific existing ad of yours, both agreed in writing at kickoff. Hold rate is read alongside it so a hook nobody stays for cannot pass. Not "performance", not a dashboard argument three months later.
- Capped at one free month
- The remedy is month four, and that is the whole remedy. No studio should offer to work free until it wins, and no buyer should believe one that does.
- Conditional on your side of it
- Approvals inside the agreed window, ad account access granted, spend held at the level agreed at kickoff. Creative cannot be measured against a baseline that moved.
The terms are one page long, and this is most of them.
The top of this market sells an annual commitment and argues that the lock-in is what makes the work compound. The work compounds either way. The angle bank and the brand system are yours from the first month, so the term exists to protect the seller, and Second Unit does not need it.
- Monthly, rolling
- You are billed for the month ahead. There is no annual term, no minimum commitment and no onboarding fee. Tell us before your next billing date and the work stops at the end of the month you have already paid for.
- Pausing is a real option
- Seasonal lull, product gap, budget frozen for a quarter: pause the subscription and stop being billed. Your angle bank, brand system and everything already made stay where they are, and picking it back up costs nothing.
- Moving between tiers
- Up takes effect the next working day. Down takes effect at the next billing date, once the angles already in flight have finished. Nobody gets stuck at a size that stopped fitting.
Six things a tier does not buy.
A queue nobody counts only works inside a boundary somebody published. Here is the boundary, stated the way it would be stated on a call rather than in a footnote.
- Media buying
- Bids, budgets and audiences stay with you or your buyer. Available as a named add-on, quoted separately, never folded into a tier.
- The ad spend itself
- Second Unit never sits between you and the platforms. You pay Meta, TikTok and YouTube directly.
- Live-action shoots
- Talent, crew, locations and a shoot day are a different kind of production with a different cost base. Quoted per project when a brand needs one.
- Influencer sourcing
- Finding creators, negotiating rates and holding the contracts is a talent business, not a studio one.
- Web and landing pages
- The creative arrives ready for the page. Building the page is somebody else.
- The Custom lane
- Brand films, launch work, identity and motion systems. A different kind of work rather than a bigger amount of it, so it is quoted rather than laddered.
Questions worth asking first.
The ones a performance lead asks on the call, answered before the call.
What if I send one enormous brief?
It gets broken into angles on our end and sequenced, the same as everything else. A launch with four propositions is four angles, not one job that parks the queue for a month.
The daily movement guarantee is what makes this safe to promise: you see finished work on the big thing while it is still being made, rather than waiting three weeks for a reveal.
How fast does work actually come back?
Every angle in flight moves every working day, and a full angle runs about a week from brief to finished variants. First work is live inside five working days of kickoff.
The studio day also runs ahead of the US one. Brief it at 6pm, review it at 9am: work you asked for at the end of your day has been made overnight and is waiting when you open your laptop.
How do I know I will really get 90 videos?
Because 90 is the pessimistic number. Three angles at ten variants each, cycling weekly, is nearer 130 in a month where approvals are quick. The published figure already assumes they are not.
Are revisions counted?
No, and nothing else is either. Counting revisions makes clients hoard their notes and approve things they do not like, which is the most expensive kind of politeness in this business.
The only real constraint is how many angles are in production at once, and that number is on the card.
What does this cost against the alternatives at 90 a month?
An in-house editor runs roughly $70,000 to $95,000 a year in salary before employer costs, software and management time, and one editor cuts what one editor can cut. There is no strategy in that number and no second pair of hands in a busy week.
A freelance editor is typically $400 to $900 a day, and the brief is still yours to write, the direction still yours to give, the results still yours to read.
Per-asset AI tooling advertises around $10 to $15 a video, so 90 assets is roughly $1,000 a month in tool spend, plus every hour of writing the angle, directing the read, cutting the variants, publishing them and working out which one won. The tool is cheap. The labour it hands you is not.
Three angles in flight is $5,950 for around 90 finished videos, made, published and iterated. That is about $66 each with nobody on your side doing the work.
Who owns what gets made?
You do, outright, including the angle bank and the brand system built around your account. Stop tomorrow and all of it stays with you.
Three months is how long it takes to know.
Commit to three months. If we haven't beaten the hook rate of your best-performing existing ad by the end of month three, month four is free.