A TV and film agency with a name everyone in the industry knows. The reputation was already there. The brand had not been touched in years and was quietly arguing the opposite.
Refresh it without losing what people already recognise.
They cast for Disney, Netflix, Apple, Samsung, WhatsApp, Dyson, Nike, Adidas and Sky. For the Premier League, Arsenal and the FIFA World Cup. For Spider-Man, Star Wars: Andor, Squid Game, Top Boy and Love Is Blind. For Idris Elba, Jorja Smith, Chunkz and the Sidemen.
The work is genuinely at the top of the category. But the identity had not been updated in years and the digital presence had fallen behind it, so a business that leads its market was presenting like one still trying to enter it.
That makes the brief harder than a blank-page rebrand. Recognition is an asset once you have it, and throwing it away to look new is the most common way an established brand loses ground. The mark had to stay legible as itself and still read as the leader.
This is the part of the process most studios do not show. Each route takes a different position on how far to move. Presenting them together is the point: it turns an aesthetic conversation into a strategic one, because the founders are not choosing a colour, they are choosing how much recognition to spend.
A slightly refined version of the existing logo and palette, leaning on the monogram as a rounded mark, with cut-out imagery of the client list, vivid neon accents and a darker, higher-contrast ground. The least spent, the most recognisable.
The logo drawn thinner and more legible, the palette moved off the existing colours into pastel tints, and bold typography carrying the weight instead. Spotlight-inspired circular patterns and gradient floods, with cut-out casting imagery over them.
Pink and blue dropped entirely for a single prestigious purple, the monogram refined again with an outline ribbon treatment to make it more distinctive, and subtle gradient flares over a deep navy alluding to stage lighting. The furthest from where the brand started.
Talent wants to be seen. Production wants to find.
Most agency sites try to serve both with one homepage and end up serving neither. Talent arrives wanting to know how to get on the books; a production client arrives wanting evidence and a way to brief. Those are different journeys and they were competing for the same space.
So the redesign splits them from the first screen, then gives each what it actually needs: recent shoots and credits for the client side, a clear sign-up flow for the talent side, and testimonials where they carry weight rather than where they fit.
Three routes were designed and prototyped. Walk the final prototype → The site is in development.
Rebranding a leader is a different job to rebranding a challenger.
A challenger can afford to be unrecognisable, because nobody is looking for it yet. A leader cannot. The value already sitting in the mark is the thing most likely to be destroyed by a rebrand, and the temptation to prove effort by changing everything is exactly the trap.
Three routes existed to make that trade-off visible rather than aesthetic. What got chosen was the version that keeps the recognition and spends the effort on confidence instead.
