12
Production
Five editors, three shooters, two motion designers and two producers. They own the delivery deadline, and they are the reason 72 hours is a promise rather than a hope.
The studio
We built the studio before we built the client list.
Crestwick Digital started in 2019 above a coffee shop on Thomas Street with two editors, one camera and a conviction that Google Ads was becoming a creative discipline while nobody in the industry was staffing for it.
34
People in the studio
19
Accounts on retainer
2
Shoot spaces on Deansgate
01 · Origin
The bidding was never the bottleneck
Our founders spent years managing Google Ads accounts at larger agencies, watching the platform absorb one manual control after another. Bidding went. Targeting largely went. Placement went. What was left that actually moved the numbers was the creative — and the creative arrived from a production team six weeks behind.
So we inverted it. Crestwick was a production studio first: cameras, lights, edit bays and people who could turn a brief around in days. Account management came second, and only ever as much as the studio could actually feed.
Seven years later that is still the constraint we design around. We do not take on an account whose creative volume we cannot produce, which means we grow slowly and turn down roughly half the work that comes to us.
Crestwick, factually
Founded2019
Team34
StudioDeansgate
PlatformGoogle Ads only
Accounts on retainer19
Average client tenure2.6 yrs
Assets produced in 2025840+
02 · The team
Everyone here makes something
We have no account managers in the traditional sense. The people you meet are the people editing your video, writing your ad copy and managing your campaigns.
8
Google Ads
Account managers and specialists who run the campaigns, present the results and sit at the same desks as the editors. Each holds a maximum of three accounts.
6
Copy & strategy
Copywriters and creative strategists writing search ads, video scripts and the concept framework everything gets tested against.
5
Design
Designers building the image asset sets and the modular systems that let a small production budget behave like a much larger one.
3
Measurement
Analysts owning conversion tracking, experiment design and the concept-level reporting that decides what we make next.
0
Middle layer
Deliberately. Nobody at Crestwick is paid to relay messages between you and the person doing the work.
03 · What we believe
Five things we will argue about
Not values on a wall. These are positions, and we will defend them in a first meeting even when it costs us the work.
01
Creative is the last real lever
In an automated auction, the assets and the speed you replace them are most of what you still control. Agencies still selling bid management as their core skill are describing 2015.
02
Production capacity is strategy
A creative plan you cannot execute at cadence is not a plan. We size every strategy against the studio hours available, and we say no when the maths does not work.
03
Report the failures first
Every monthly review opens with what did not work and what we are changing. It makes the meeting shorter and the relationship considerably longer.
04
Measure before you make
We check conversion tracking before we produce a single asset. Testing creative on broken data is an expensive way to learn nothing.
05
You own everything
Raw footage, project files, usage rights, the Google Ads account itself. Transferred on payment, no exit fee, no archive held back as leverage.
Come and see it
Visit the studio. Watch a shoot day.
The fastest way to know whether we are exaggerating is to come to Deansgate on a Tuesday and watch the studio work. Bring your account, meet the editors, and ask them how quickly they really turn things around.
Arrange a visit