Offers

A commercial video system needs a few months to show what it can do, and the minimum term is built around that timeline. The first month goes into the foundation: studying the brand, building mood boards and a style system, and drafting the commercial strategy documents. The first campaign follows, and once it is live, the numbers start coming in. Only then can the next campaign be shaped by real data instead of assumptions. Five to six months is the shortest window in which that full cycle completes and the results become something a team can read and act on.

The minimum also protects the quality of the work. On Scale, Growth, and Enterprise, the work runs through a dedicated sub-team that learns the product, the market, and the brand, and a team like that is only worth building when both sides intend to see the system through. A month-to-month arrangement would turn the first campaign into a trial run, and trial runs rarely bring out anyone’s best work.

Core runs for four months, Scale for five, and Growth and Enterprise for six, since larger plans carry more campaigns that need time to land and be measured.

Seconds measure animated content, whatever shape it takes. A launch film, a hero animation on the website, a looping GIF for a product page, an in-app walkthrough: if Truggl animated it, its running time counts toward the month’s seconds. The format follows the placement, and the count works the same way.

Those seconds split however the campaign needs them. Sixty seconds in a month can land as one 60-second commercial video, two 30-second spots, or six 10-second pieces for different channels. The split is planned with each campaign, so the volume goes where it does the most work.

When a piece mixes live footage with animation, only the animated part counts. A three-minute talking-head piece with motion graphics woven through it is counted by its animated scenes, not its full length, so footage of people speaking never eats into the month.

On Scale, Growth, and Enterprise, unused seconds carry forward for the full term. On Core, they expire 60 days after the payment that covered them. When a term ends, anything already in production is finished and delivered, and seconds that never entered production close with the term.

During the script and storyboard phase, changes are completely unlimited. Lines can be rewritten, scenes remade, and the whole structure changed until the client is happy, as those stages are made for alignment rather than delivery. Production will not move forward until the client gives the final approval.

Revision rounds only start counting at the final cut, after everything is produced. At this point, there are two types of changes. “Minor revisions” are small tweaks that do not change the approved storyboard, like fixing text, swapping a color, or adjusting animation speed. Any number of these small changes sent together counts as just one round. “Storyboard revisions” are bigger changes that alter what was already approved, like replacing a whole scene, and each of these changes counts as its own separate round.

For example, if the client sends a list with multiple small tweaks and one big scene change at the same time, it counts as two rounds total.

Each pricing plan includes a specific number of final-cut rounds per asset: one round on the Core plan, three on Scale and Growth, and unlimited on Enterprise. If the client needs more rounds than the plan allows, the extra changes are quoted at an hourly rate.

Scale, and the reason is simple: it opens the full system at the lowest commitment that can still prove what the system does.

Nothing is held back for later. A dedicated sub-team, strategy from the company level down to every asset, the brand study and style system, KPI tracking, and Designer Heaven all come with Scale from the first month. The first campaign runs on the same machinery a larger plan would, just at an entry volume.

That makes it the plan with the highest upside for the least risk. The foundation gets built properly, the first campaigns go live, and the numbers start showing what the commercial videos are doing in the funnel. Within a few months, the content has a rhythm, the KPIs are clean, and every next decision rests on evidence instead of a guess.

When that evidence says the calendar needs more, moving up to Growth is simple. The system is already running, the team already knows the product, and the step up adds volume and parallel campaign production without restarting anything. By then, most of the work that makes a retainer valuable has already been done, which is exactly why Scale is the safest way in.

Yes. A one-time project is the simplest way to start: one brief, one clear scope, and a commercial video made to the same production standard as everything else Truggl ships. It builds momentum quickly, and if the company moves to a retainer later, the approved direction and design material carry straight into the retainer’s foundation.

It is a lighter way in, though, and the trade-offs are worth knowing upfront. The full-depth style testing that shapes a brand’s visual system is reserved for retainers on Scale and above, so a project works within a direction set early rather than one explored in depth. Strategy stays with the client: the project starts from their brief, covering what the piece needs to say and where it will be used, and Truggl builds the strongest possible commercial video for that job. If something in the plan looks likely to undercut the result, the team will say so, but shaping the wider strategy sits outside a project’s scope.

That makes a one-time project a good first step and a fair test of the craft, without being the full Truggl experience. The system, the strategy at every level, and the work that compounds from one campaign to the next start at Scale.

It depends on how much is already in place, and the honest range is two to three months.

Before the first campaign goes into production, the groundwork has to happen: research into the product and the market, style testing until the visual direction is confirmed, and the commercial strategy and campaign brief that decide what the campaign needs to do. For a company with a well-defined brand, a clear go-to-market, and a narrative it already believes in, that groundwork moves quickly, and the first campaign can go live within eight to nine weeks.

When the brand is still settling or the first campaign is a heavy one, it can take closer to three months. That time is never squeezed for the sake of an earlier date. A rushed first campaign is how seconds get spent on assets that don’t fit together, and that costs far more than a few extra weeks.

The first campaign carries the most weight because it is built from nothing: the style system, the strategy, and every design component are being made for the first time. After that, the curve bends quickly. The second campaign reuses what the first one built, the third reuses more, and each asset makes the next one faster to produce. Speed is earned in the first campaign and paid back in every one that follows.