Plan and shot list
The month's theme, the publishing calendar and a list of every frame to be captured. Nothing is produced before you approve this document.
Output: approved calendar
Social media
management
Planned, shot, published and measured every month — as a system, not as individual posts when someone remembers.
01THE REAL PROBLEM
Brands rarely fail on social media. They become irregular.
Three posts in one week, then fifteen days of silence. When the season gets busy, content is the first thing dropped — and in Antalya the season gets busy exactly when the audience is watching.
The result is not low engagement. It is a brand that never settles in memory. If people see you once a month, they remember you once a month.
Our job is to close that gap: tie production to a calendar rather than to a person, gather shooting into a single day, and schedule publishing in advance so a busy week cannot cancel it.
02THE MONTHLY CYCLE
Four weeks, four jobs
The same discipline every month. What changes is the content, not the rhythm — and the calendar is approved by you before anything is produced.
Shooting day
One full day at your venue or in the studio. Stills, horizontal video and vertical content are produced in the same session — one day of your team's time covers the whole month.
Output: the month's raw material
Edit and publish
Editing, subtitles and scheduled publishing. Comment and message handling runs continuously from this week onward, in both languages.
Output: published content
Advertising and reading
The strongest pieces are put behind budget. At month end you receive a written note on what worked, what did not, and what we propose next.
Output: written monthly read
SEASONAL BRANDS SHIFT THIS CYCLE · IN PEAK MONTHS SHOOTING MOVES TO EARLY MORNING, IN WINTER IT MERGES INTO A STOCK SHOOT
03SCOPE
What is included, and what is not.
In monthly work, almost every dispute starts with an unclear scope. So we write both sides down before the first invoice.
INCLUDED
- Monthly content strategy and topic plan
- One full shooting day — stills and video
- Editing, colour grading and subtitles
- Design for posts, stories and covers
- Copywriting in Turkish and English
- Scheduling and publishing
- Comment and message handling
- Campaign setup, targeting and optimisation
- End of month report and next month proposal
NOT INCLUDED
- Media budget — paid directly to the platform
- Influencer and collaboration fees
- Additional shooting days and travel outside Antalya
- Actors, models and professional voice-over
- Product samples and shipping
- Stock footage and licensed music
- Website and e-commerce work
All of these can be arranged; they simply appear as separate lines in the quote.
04LANGUAGES
Two audiences, two languages, one account.
Most brands here speak to a domestic and an international audience at the same time. The table shows how we handle that without doubling the workload.
| CONTENT | TURKISH | ENGLISH | APPROACH |
|---|---|---|---|
| Feed postsLong shelf life | WRITTEN | WRITTEN | Both languages in one caption, Turkish first |
| Reels and videoSound is often off | WRITTEN | WRITTEN | Burned-in subtitles, one version per language |
| StoriesDisappears in a day | WRITTEN | SELECTIVE | English only where it carries information |
| Replies and messagesOne to one | WRITTEN | WRITTEN | Answered in the language the person wrote in |
| Ad copyTargeted separately | WRITTEN | WRITTEN | Separate campaigns, separate audiences |
We do not run captions through machine translation. It reads as translated, and in a market where half your audience is a native speaker, that is a cost.
How the Antalya year runs
Production volume is not flat across the year. The season line — and what it means for planning — is on the agency page.
06FREQUENT QUESTIONS
Before the first call
Do you publish in English as well as Turkish?
Yes. Captions are written separately in each language rather than translated by machine — a translated caption reads as translated, and in a market where half the audience is a native speaker that costs the brand its voice. German and Russian are added only when someone on your side can answer in that language; an unanswered language is worse than a missing one.
How often do you shoot?
One full day a month is the baseline for most brands. In peak season that day moves to early morning so the operation is not interrupted. Out of season it is often merged into a larger stock shoot, which is cheaper per frame and gives the winter months something to publish.
Is the advertising budget included?
No. Media budget is paid directly to Meta or Google from your own card, and the whole of it stays yours. Campaign setup, targeting and optimisation are included in the monthly fee. We do not take a percentage of media spend, because that makes growing the budget profitable for the agency and quietly corrupts the advice.
Who owns the account and the content?
You do. Accounts stay registered in your name and we are added as authorised users; access is removed when the work ends. Login details, where a platform still requires them, are limited to two people and kept in an encrypted password manager. The account's email, phone and recovery details are never changed.
What is the minimum commitment?
Three months. The reason is practical rather than commercial: month one is setup, month two finds the rhythm, month three is the first month that can honestly be judged on results. Evaluating a single month misleads both sides.
Can you take over an existing account?
Yes, and we prefer it — existing history helps. Before the handover we go through a checklist: who owns the ad account, where the pixel data sits, whether the recovery email is yours. That checklist is where most of the value is lost when brands change agencies.
Let us look at the account first.
Leave your Instagram handle and we will send a written review within three working days — what is working, what is missing and what we would do in the first month. Free, and not a sales pitch.