SHAR / VIDEO PRODUCTION
SHAR produces commercial, brand and product video. The brief fixes the audience, message, channels and versions; the scene plan assigns live action, CGI or AI, followed by post-production and delivery.
SHOWREEL 2026Watch · 00:4901 / THE WORK
Showreel 2026 brings together commercial films, live action, CGI, AI and hybrid scenes. It is a concise view of SHAR's visual range, followed by detailed public cases.
Open the showreel case
02 / THE JOB
The brief records the audience, message, channels, deliverables and constraints. Those inputs determine which scenes are filmed, built in CGI or produced with directed AI.
03 / THE METHOD
A project may use one method or several. We compare frame control, product accuracy, the need for real people and the number of adaptations rather than choosing a technique for novelty.
| Method | Best used when | What needs control |
|---|---|---|
| Live action | Real people, environments, interviews and physical behaviour carry the message | Casting, locations, light, shoot days, rights and schedule |
| CGI / 3D | Exact geometry, materials, pre-launch products or impossible cameras are required | Models, textures, physics, rendering and product tolerances |
| AI video | Stylised worlds, visual exploration and directed generative scenes fit the brief | Continuity, artifacts, rights, brand safety and selection |
| Hybrid | Human credibility, product precision and visual freedom are needed together | One direction, key frames, compositing, colour and transitions |
| Motion design | Interfaces, data, systems and graphic explanation are central | Narrative logic, pacing, legibility and sound rhythm |
A short brief is enough to compare methods. For the generative route, read the separate guide to AI video production.
04 / THE CYCLE
The exact sequence changes with the project and is fixed before production. Live action, CGI, AI and post-production are assigned only where they contribute to the agreed result.
Audience, message, channels, duration, deadline, available assets and approval criteria.
Idea, narrative, references, key frames, script and the planned set of versions.
Shoot preparation, scene creation, CGI or AI tests and production of the approved material.
Editing, graphics, compositing, colour, sound, artifact cleanup and approvals.
Master, cutdowns, channel formats, subtitles and final files defined by the estimate.
The next stage starts after approval of the task and constraints; concept, script and key frames; production tests; first edit; and the master/version map. The approval owner and acceptance criteria for each gate belong in the project schedule.
05 / THE SCOPE
A useful estimate exposes the work, versions, rights and handoff instead of compressing the project into a single unexplained line.
The scope can include a master film, short edits, horizontal or vertical versions, subtitles, graphics, sound variations and agreed channel files.
The estimate lists music, stock, contributors, territory, usage period and channels. Source material and project files are included only when named in the handoff.
Cost depends on duration, scenes, shoot days, cast, locations, CGI or AI work, music, rights, schedule and versions.
Published starting points are RUB 300,000 for a compact AI format, RUB 900,000 for a commercial film, RUB 1,200,000 for classic production and RUB 1,800,000 for a hybrid project. Each figure belongs to a defined scope, not a fixed package. See the Pricing.
Concept work, preparation, filming or scene creation, post-production, approvals and deliverables shape the calendar. After the brief, a preliminary schedule maps the stages, approval dates, dependencies on client material and delivery of each version.
| Compare | What the proposal should show | Why it matters |
|---|---|---|
| Scope | Script, preparation, live action or digital scenes, post-production and sound | The same service label can hide a different amount of work |
| Team and ownership | Who produces, directs, accepts material and runs approvals | Responsibility for each decision and stage is visible |
| Rights | Music, stock, contributors, territory, usage period and channels | The licence must match the real release plan |
| Versions and handoff | Master, cutdowns, formats, subtitles, source material and project files | The delivery package cannot remain implied |
| Approval gates | Checkpoints, approval owner and acceptance criteria | Revisions and the schedule stay manageable |
06 / PUBLIC WORK
Each project page shows the finished material, production task, method and published delivery scope.
View all cases07 / THE TEAM
SHAR records the message, approval chain, available assets and release channels before estimating the scene plan. Briefing and approvals can run remotely; filming logistics are planned for the approved locations.
Roles, credits, communication and the handoff model are agreed before production. SHAR can work as a visible partner or behind the agency relationship.
Discuss the working model08 / QUESTIONS
Scope, method, timing, deliverables, agency collaboration and the inputs for a preliminary estimate.
The scope can include the brief, concept, script, pre-production, filming or scene creation, CGI or AI development, editing, graphics, colour, sound and agreed channel versions. The estimate defines which stages are included.
Budget depends on the format, duration, number of scenes, filming days, cast, locations, CGI or AI complexity, music, rights, schedule and final versions. SHAR prepares a preliminary range after the brief; published format guidance is available on the pricing page.
Timing depends on concept development, preparation, filming or scene creation, post-production, approvals and the number of deliverables. A project calendar is prepared with the proposed scope.
Filming is useful for real people and environments, CGI for exact products and controlled digital scenes, and AI for directed generative imagery. A hybrid route combines them when one method cannot carry the whole job.
The delivery can include a master film, shorter edits, horizontal or vertical formats, subtitles, graphics, sound variations and files prepared for the agreed channels. Source materials are included only when specified in the contract.
Yes. Production-partner, white-label and NDA arrangements are possible. Roles, credits, communication and handoff are agreed before production starts.
Send the product context, audience, objective, channels, desired duration, deadline, available brand materials and references. This is enough to compare production methods and outline the first scope.
09 / RESOURCES
10 / NEXT STEP
Product context, audience, channels, desired duration, deadline and available assets are enough to begin. The response will outline a production scope, estimate structure, schedule and version map.
Author and creator: SHAR Production. Published: . Modified: .