Produced to hit a number.

Strategy, video, photo and AI creative from a small Cape Town team that finds the problem before it makes anything.

Book a call See the work

Production is the last part of the job. Before that we find the problem, plan the system that fixes it, and agree the numbers it has to hit.

Diagnose. We start with your business, your brand and the story you tell, and find where the work you already run falls short.

Build. Working backwards from the goal, we decide what gets made, for whom, where it runs and how often.

Measure. We set the KPIs with you before the first shoot, track them while the work runs, and carry the results into the next plan.

A woman in a sheer yellow dress against a clear sky, holding a bottle of red wine and two glasses, her face seen through one of them

Work with a job to do.

Four projects from the last two years, each produced for a goal. More goes up as current jobs finish.

Backsberg Family Wines

Brand film, 2025
More about this projectClose
The brief
Show the harvest and the hand-made side of Backsberg’s winemaking to the people who buy and sell the wine, here and abroad.
What we made
A three-minute film from the Paarl vines into the cellar, the winemaking team on camera, a voiceover carrying the year, and cut-downs for social.
Where it ran
Pitch decks and supplier meetings, local and international, with the cut-downs on the estate’s social channels.
Our role
Concept, direction, camera, edit and voiceover.

OneDayOnly

Six campaign spots
More about this projectClose
The brief
The year’s biggest campaigns for South Africa’s largest daily deals site, Birthday and Black Friday among them.
What we made
Six spots written for the feed: Birthday, Deal Verification, Suit Up, Spilling Tea, Eating Cake and JBL, each cut to the versions its channel needed.
Where it ran
Paid ads on Google and Meta, and OneDayOnly’s own social channels.
What it did
Every campaign hit its sales and marketing targets, measured on return on ad spend and cost per lead.
Our role
Concept, direction, production and edit.

Stella Artois and Tanqueray, with Media24

Life Artois campaign, six shorts
More about this projectClose
The brief
Show how people host at home for the Life Artois campaign, with celebrity chefs and influencers at the table.
What we made
Dinner and games-night shorts with Chef Nti, Zanele and Bertus, shot over two days with a food stylist on set.
Where it ran
Media24’s publishing titles and websites, and the campaign’s own channels.
Our role
Production, direction and edit with Media24’s content team.

The Red Room at the Mount Nelson

Brand film, with Futurehouse
More about this projectClose
The brief
Put the signature Peking duck in front of more diners, and show what it takes to make it.
What we made
A one-minute film from the kitchen to the table.
Where it ran
The Red Room’s own channels.
Our role
Concept, production, camera and edit, with Futurehouse Agency.

Everything the plan needs, from one team.

Strategy, creative, production and post sit with the same few people, so whoever planned the work is also on set and in the edit.

A wooden desk and an office chair standing in the shallows of a Cape Town beach, a man typing on a laptop with his feet in the water

Strategy

  • DiagnosisKnow what your work is doing before you spend more on it.
  • Content systemA calendar with a reason for every piece on it.
  • KPIs and measurementTargets you agree before the shoot, and a straight answer on whether the work hit them.
  • Brand and storyOne position every piece serves, and a feed that reads like one company.

Creative

  • ConceptAn idea you can see in frames before it costs anything to make.
  • ScriptVoiceover, on-screen text and captions written for the channel they will run on.
  • Art directionThe look is settled in pre-production and the day on set goes into shooting it.
  • Graphic designTitles, end frames and decks that match the film they sit next to.

Production

  • ProducingWe handle crew, kit, locations and budget. Your part of the shoot is turning up.
  • ShootDirection and camera on set, from a studio table to a harvest at dawn.
  • PhotographyStills built on the same idea as the film, which is why the campaign holds together.
  • Talent and crewStylists, chefs, presenters and assistants, booked for the job.

Post and AI

  • EditThe cut, the grade and the sound mix, with two review points before the final.
  • Motion graphicsAnimated titles, logos and explainers.
  • VersionsA cut for every channel on the plan, made from the one shoot.
  • AI creativeConcept frames, previews and variants, each one chosen and finished by a director.

If a job needs a skill we do not carry, we bring in someone we have worked with before, in South Africa or beyond, and run them as part of the team.

A process you can see.

Six steps. The first is a call and the last is finished files with a plan for what comes after. Most of the work sits on our side.

Discovery call

Fifteen minutes on video about what the business needs and what is in the way, with no pitch attached.

You bring the goal and whatever you have run before. We ask how it performed.

  1. Fifteen minutes on video about what the business needs and what is in the way, with no pitch attached.

    You bring the goal and whatever you have run before. We ask how it performed.

    A woman with short hair and a gold hoop earring drinking from a green paper cup, the sea out of focus behind her

  2. We check what you have been running against what the goal needs, and keep what already works.

    A look at your industry and your channels, then a written read-back so we are solving the same problem.

    Seen from above, a woman in an orange bandana reading on a picnic blanket next to a boxed tea set and a croissant on an orange plate

  3. One recommended route, with options either side, priced to the work rather than off a rate card.

    Concept, frames you can react to, a quote with dates, and a deposit to hold them.

    Three hands reaching in from the sides, each holding a plain white can with a square of colour on it, stacked down the middle of the frame

  4. The plan becomes a schedule: scripts, shot lists, crew, locations and budget, agreed before a camera moves.

    Call sheets and approvals, and the short list of what we need from you.

    A padel player lying on his back on a red court under the net, racket on his chest, balls scattered around him

  5. Shoot days, then the edit, grade, sound, graphics and the cut-downs each channel needs.

    Two review points, your notes kept in one place, and nothing in the final cut you have not already seen.

    A hand squeezing a lemon over three fish tacos at a sunlit restaurant table, a glass of white wine beside the plate

  6. The finished files, a review of the work against the goal, and the next plan.

    A check-in once the work has run, with the numbers, and the next three months planned from what they show.

    Seen from above, a fan of printed photographs on a yellow table, a hand placing the last one, an espresso beside them

Most brands post content and hope it works.

Book a call

AI does the fast part and the idea still comes from us.

We use the latest image, video and language models where they earn their place, and not on every job. They speed up research, previews, versions and the operations around a production, and we teach clients to use them too. Raw output looks like everyone else’s, so nothing leaves here without a director’s hand on it.

Faster to a look
Concept frames and previews in days, so the direction you sign off is already on screen.
More from one shoot
Cut-downs, crops and new versions from the real footage and stills, so the calendar stays full without another call sheet.
Less time at the desk
Research, scripts, shot lists and edits go quicker, and the hours saved go back into the idea.

AI doesn’t replace the shoot. Real light on a real product still wins, and we’ll be the first to tell you when that’s what the job needs.

We use AI to move faster before and around production, and we always tell you which is which. Nobody pays us for slop.

Jo-Ash Rajcoomar, seated, in black and white

You work with Jo.

I’m Jo-Ash Rajcoomar. I started Howling Media in 2020 after seven years in production, most recently running video at OneDayOnly, and I direct, produce and sit in the strategy meetings myself.

There is no account manager between you and the person making the work. For crew and kit I work with Sean Oosthuizen at Futurehouse Agency, and with photographers, editors, stylists and drone pilots across the country, pulled in per job.

Leave the first call with a direction.

Fifteen minutes on a video call. Bring a launch, a product or a stuck brief and you will leave knowing what to make first.

Seen from above, a woman in a teal headscarf and round sunglasses lying on a red surfboard in dark water

Pick a time

Add your name so Jo knows who to reply to.
Add an email address Jo can reply to.
A line or two on the launch, product or brief is enough.
You’ll hear from Jo within a working day.

Or reach Jo directly