Most golf videos show you either a drone shot set to music or a swing correction. We also film what happens in between: the people, the bad shots, and the reasons someone is on the driving range at seven in the morning.
What a shoot day typically yields
Each one can be booked on its own. What separates them is not the camera work but what the material has to do afterwards.
Every hole flown and cut separately, placed on a course map. Visitors see what awaits them before they book, and your office stops answering the same question on the phone.
You get18 individual clips plus one edit, embedded on your own domain, with a still for each hole for the scorecard and print.
The image film turned around: not the facility, but the people on it. For a relaunch, an anniversary, a master plan, or simply because the last film is from 2014.
You getOne main film of four to eight minutes, a 60-second cut for social, and a silent loop for the screens in the clubhouse.
A portrait series: the member since 1986, the greenkeeper at half past four, the pro with her first student, the junior squad. The series that turns a facility into a place.
You getThree to four two-minute portraits per shoot day, each with a vertical cut and a photo set.
Club championship, pro-am, sponsor tournament. Filmed by day, cut overnight — because a tournament film that arrives two weeks later interests no one.
You getA recap the next day, prize-giving and sponsor presence separately, plus footage the partners may use freely.
Vertical, for Instagram, TikTok and YouTube Shorts. Not offcuts from the long form but planned in their own right: different framing, different pacing, a different first three seconds.
You getOne package per month or per shoot day, cut, subtitled and sorted by platform.
Course photography and aerials, plus clubhouse, catering and people. Sorted and colour-graded so press, partners and tour operators can help themselves.
You getA sorted library with usage rights, plus a finished media kit as a PDF for outside enquiries.
Everything described on this page is filmed and photographed. Where AI-generated material makes sense in a project — a visualisation of the course before a rebuild, say — it is labelled as such, in the film and on the invoice.
Golf has two usable windows of light a day, and full tee sheets in between. The schedule follows that, not the other way round.
Three kinds of client with three different goals. Which one applies decides every cut.
Private clubs, public courses, golf hotels. Material for your own site, for booking portals and for the press, and for the question of why someone should drive here rather than twenty kilometres further on.
GoalGreen-fee visitors, full taster courses, new members, occupancy out of season
Clubs, balls, apparel, training aids, and coaches building a name. Product launches, test formats and content that still carries when no campaign is running.
GoalProduct launch, reach among people who know the game, trust rather than ad pressure
Organisers, federations and tourism regions with several courses. A tournament is three days of material; a golf region is a story that can be told across a season.
GoalProve sponsor value, fill the field, put the region on the map
U*Golf is not only a service. We produce our own golf formats — and learn things from them that no agency briefing teaches: what gets swiped away after three seconds, which round can be told and which cannot, and why a bad shot reaches more people than a birdie.
For clients that means: we know production, how the platforms behave and how a community works from doing it ourselves, not from an agency deck.
Still to comeFormat name, channels, reach and a sample video. They go here as soon as the figures are solid.
Both start with the same first conversation. After that it becomes clear whether you need a project or a season.
One occasion, one result. The course film before the season, the club portrait for the anniversary, the product launch in spring.
Golf runs on a yearly cycle: season opening, club championship, high summer, autumn light, winter break. Covering that needs a plan, not a film.
Two or three sentences are enough: which course, what the occasion is, what you want from it. The first conversation costs nothing. If a shoot day is not the right thing, we say so — sometimes a photo set will do.