Hello, World!
Come in. Have a look round.
This isn't a production company pitching a brand. It's a universe we'd like to build with you, and this is the door to it.
Take it at your own pace. Open everything. Every folder is a story about how we'd work together: the thinking, the rhythm, the shoots, the numbers.
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Shapeshift Films
London · film, photography, campaign content
A client once called us at 4pm. Their production company had walked the day before the shoot.
By 8am we had a crew, a location and talent standing on set. The film went out on time and nobody watching it ever knew.
That's the whole pitch. Beautiful work, made calmly, on the day it's needed.
Shapeshift Films is a London video production company making cinematic brand films, campaign content and photography for brands, nonprofits and cultural organisations.
Strong creative direction, refined execution, visuals that feel elevated and intentional. We handle projects end to end, from concept and pre-production through filming and post, delivering motion and stills for teams that value craft and clarity.
On set. Why We Move and Zoteria, London.
Cut out the middle man. You work directly with the people making your food look beautiful, not an account manager relaying notes to a crew you never meet. The person framing the shot is the person who took your brief.
Every project starts with the same question: what does this content need to do? From there we shape the right creative and production approach, whether that is a lean shoot, a hybrid photo and video setup, or a full campaign rollout.
Collaborative from concept through delivery. The process stays clear, efficient and tailored to the goals of each project. No bloated crews, no surprises on the invoice.
Startups, established brands, nonprofits and agencies that need high-quality content with clear creative direction. Some come for a single shoot, others for wider campaign support.
Why that matters for Honi Poke: you need film, photography and social output from one team on a repeating monthly rhythm. That is exactly the shape of work we are built for: end to end, in London, across motion and stills.
shapeshiftfilms.com · instagram.com/shapeshift.films
The honest read
The food photography is doing its job. The feed around it isn't.
Twelve rows of @honipoke, read top to bottom. Everything below comes from these three screens.
What the grid is actually telling us
Six visual languages fighting each other. Pink and blue "HONI I'M HOME", flat green type tiles, a red calendar promo, a yellow and blue "POKE SALADS" split, cream Too Good To Go flatlays, and warm daylight iPhone shots. Scrolled fast, it reads as six different brands sharing one account.
Discount is doing the talking. £1 Bowls, 50% off sushi after 6pm, Too Good To Go hauls, "Cost £5.99, Value £18". Price-led posts train an audience to wait for the next offer rather than to want the thing at full price. They also pull in deal-hunters, not regulars, which is part of why 16.1k followers produce 15 to 30 likes.
The bag is your best asset and nobody has noticed. "HONI I'M HOME" appears on the Tube at Canary Wharf, swinging down Kingly Street, on a picnic blanket, in a car. It is the one device that survives every context, and it is currently an accident rather than a campaign.
Where the feed already gets it right
The black and white photo of Vlad as a child captioned "this is who started Honi Poke" is the single most human frame in twelve rows. One founder, one photo, no template. That is the tone the other 95% of the grid is missing.
The staff shot behind the counter and the hands lifting a stacked pair of bowls are the only posts where a person and the product share a frame. Both are real, both are unposed, and both are rarer than the terrazzo floor close-up that carries no product at all.
Texture holds up. The cucumber slices in water, the pile of red peppers, the karaage under sauce. Shot close, shot wet, no type on top. These need no fixing, just more of them and better lit.
Creator content outperforms studio content in this grid, which is worth saying out loud: the Too Good To Go haul and the £5.99 bowl reaction have more life in them than the flatlays.
- Wet, close, high-texture food frames
- The "HONI I'M HOME" bag out in London
- Founder and staff moments, shot honestly
- Creator-made content over studio flatlays
- Six template styles collapsed into one
- Discount posts capped at one in eight
- Type off the photograph wherever possible
- No filler frames: the terrazzo floor, the empty street
- Faces and hands in at least half of all posts
- Named London locations, not generic "summer"
- Recurring series the audience can anticipate
- Captions that tell a story, not list ingredients
The gap in one line: the account sells bowls, and mostly sells them cheap. The brand platform says you sell the hour the bowl happens in. Everything in the folders that follow closes that gap.
Act like a human.
Drink for HumaniTea.
A vegan tea latte brand brewing change with every can. We made story-driven content for a brand that cares, because sometimes the most human thing you can do is take a tea break.
The brief
Give a challenger canned tea brand content that felt human rather than product-first, and that worked across paid, organic and retail listings.
What we made
A hero brand film plus a library of short-form cuts and stills. Hands, texture, daylight, real settings. Product in the frame, never posed like a catalogue.
Why it's relevant here
Same job as Honi Poke: a food and drink brand that needs appetite appeal and a human story, shot as one batch and cut into a month of feed.
Full project at shapeshiftfilms.com/work · "Drink for HumaniTea"
Who you deal with
Two founders. The people you meet in the pitch are the people on set, on the edit and on the phone.
Bruno
Creative Director · Founder
Concept, direction and the look of every frame, plus the photography and technical side: camera, lensing, lighting and grade. He shoots the work as well as directs it.
Ana
Development Producer · Founder
Development and production. She builds the concepts, ideas and scripts behind each piece, then turns them into a schedule: casting, locations, budgets and delivery.
No handovers
These two founders are your permanent contacts. You will never be passed to an account manager, a junior, or a name you have not met. Every brief, every note and every delivery goes through us directly.
When a job needs to scale, we scale it with a trusted crew we have built over years of shooting together: the same DOPs, gaffers, stylists and assistants, booked by us and directed by us on the day. More people on set, never more people between you and the work.
