On set in Byron Bay with Providore Global and chef Ian Oakes

We've started a new ongoing partnership with Providore Global, producing video, photography and social media management for their Tallawanta range. The brief is unusual in the best way: every asset has to read in print, on web, and in feed.

Tallawanta sits behind the kitchens of some of the best chefs and restaurants in the country, and a big share of what Providore produces ends up as printed brochures, trade collateral, and product sheets handed to those chefs in person. Print is unforgiving. So is feed. We needed coverage that did both.

The brief: brochures, web, and an ongoing content engine

Three jobs in one shoot. Print-ready hero photography for the chef and restaurant brochures. High-quality web imagery for the Providore site and product pages. Short-form video built for social, with enough reusable B-roll to feed an ongoing content calendar for months.

That meant planning the day backwards from the deliverables, not the talent call-time. Every plate, every pour, every cooking step had to land twice: once as a still that holds at A3 in print, once as a vertical clip that holds at 1080 on a phone.

One location, one chef, one day

We shot the day in a beautiful Byron Bay home. One location, deliberately. A residential set reads warmer than a studio, and it puts the food back in the place it's going to be eaten. Linen-on-timber surfaces, soft window light, and a quiet upstairs ceiling that gave us height for overheads when we needed them.

Chef Ian Oakes cooked across the day. Ian plated, styled, and replated as the camera moved. Having a chef on set who knows how to dress a plate for camera is a different speed of work. The lead time between 'next setup' and 'shooting' was minutes, not the usual half-hour wait while a stylist pulls a plate together.

Photography for print and web

Stills came first on every setup. We worked in tethered capture so Providore could approve the hero frame in the room, before we moved to motion. That cut the edit-room guesswork, and it meant the brochures had locked selects before we'd left the kitchen.

We shot wide-context, mid-plate, and tight-detail on every dish. The wide reads as the lifestyle image. The mid-plate is the brochure hero. The tight is the product-page detail and the social tile. One setup, three usable crops, all printable at trade-show scale.

Our photography team treats food work the same way we treat brand work: hero light, considered composition, and a usable detail pass on every plate so the editor and the designer aren't fighting over the same frame.

Video production strategy: narrative first, then coverage

Our video production approach on Providore is narrative-led, not asset-led. Each segment of the day was briefed as a story beat first: provenance, prep, plate, pour. Then we lit and covered each beat as if it were a short film, not a content drop.

The benefit of that order shows up in the edit. Story-led footage cuts in any direction. Asset-led footage only cuts the way it was shot. By the time we'd wrapped, the edit room had usable openings, middles, and closes for every dish, in every duration we're likely to need this year.

Short-form for social, built off the same takes

Every long-form story beat was shot with a vertical crop in mind. Same lighting, same plate, same chef, two framings on the same take. That gives the social team a clean source for vertical edits without re-shooting, and it keeps the brand world consistent across feed, web, and brochure.

Hooks were briefed before the day, not invented in the edit. 'How a chef plates X.' 'Three ways to pour Y.' 'The cut your guests notice.' Short, specific, plate-led. The edits write themselves when the hook is right.

The numbers from the day

By wrap we had over 200 stills selected, more than 20 finished video clips queued for edit, and a meaningful bank of reusable B-roll: hands at work, pour shots, plate close-ups, ambient light passes, and quiet moments around the set. That bank is the content engine for the months that follow.

The footage bank matters as much as the hero assets. A single producer-led shoot day at this depth gives the social retainer months of cadence without needing another full production. That's the model we're running with Providore moving forward.

What's next for Providore

From here, the work is consistent, monthly, story-led. The strategy is simple to describe and hard to maintain without a system: high-quality video and photography telling Providore's story and process, on a cadence that doesn't break.

More shoot days, more dishes, more chefs on camera with Ian. The brochures get refreshed as the range evolves. The web library deepens. The social calendar stays full because the production cadence stays full. That's how a food brand earns trust over a year, not over a campaign.