IT Support for Marketing and Advertising Agencies
Creative teams lose money in two places: a render that stalls while the clock runs, and a client review link that dies the night before a presentation. We build for heavy files, tight turnarounds and clients who notice when something is late.
The problems we see most
Uploads that decide the schedule
A single fibre line shared by forty people means a 40GB project upload competes with everyone else’s workday.
Fast NVMe working storage, a project tier, and an archive tier with lifecycle rules that move cold media out of the expensive place automatically.
Storage full at the worst moment
The fast tier fills with footage nobody has touched in a year, and the editor cannot write the project that is due tomorrow.
QoS and VLAN separation so a render farm or a large upload cannot starve the rest of the office.
Review links with no control
Files shared through a personal cloud account with no expiry and no revocation, so a client’s unreleased campaign sits on a link that never dies.
Workstations matched to the actual toolchain, with render capacity that suits the longest job the studio takes on.
Renders that fail overnight
A workstation that cannot sustain a long render pushes the whole schedule into the day it was supposed to be delivered.
Managed review links with expiry, watermarks where needed, and revocation you can use when a pitch does not land.
No separation between studio and office
Editing traffic, billing and email on one flat network, so a saturated link takes out the admin team as collateral.
Raw footage and approved masters protected with versioning, because the deliverable is the one thing that cannot be redone.
Version confusion
Six copies of the same project file and no one knows which one the client approved.
One clear structure for project files, versions and approvals, agreed with the team rather than imposed on it.
Agencies serving overseas clients on the same tools get the same design. The bandwidth and licensing detail below reflects Philippine realities.
The night before the pitch
A fifteen-person agency in BGC presenting a campaign film to a retail client at 9am. The edit finished at 11pm. The upload starts at 11:40pm.
The export is 38GB. The shared line manages 4MB/s against competing traffic.
At 1am the estimated completion reads four hours.
The team throttles everyone else off the network and finishes at 3:30am.
The file lands. Nobody sleeps. The pitch is fine and the team is wrecked.
Nothing broke. The schedule held only because people absorbed the cost. A separated creative network with prioritised upload and a dedicated transfer path makes the same night finish at midnight.
What you are responsible for
Most agency exposure is contractual and reputational rather than regulatory. The regulatory part we plan for is the one clients ask about in security reviews.
Client data and campaign material
Unreleased campaigns are a client’s confidential information. Access control, expiry and logging are how you answer the security questionnaire when an enterprise client sends one.
Data Privacy Act
Customer data used in campaigns, audience lists and analytics is personal data under RA 10173. Consent, storage and retention are the practical questions.
Advertising claims and records
Where a client needs substantiation records, they have to exist somewhere durable. We make sure the archive is retrievable years later.
Contractual SLAs
Delivery windows in client contracts are technical commitments. Monitoring and capacity planning are how you keep them without heroics.
From first call to steady state
- 01
Audit the toolchain
What you edit on, where media lands, what the client gets
Premiere, Resolve, After Effects, Figma, whatever the real mix is. - 02
Measure the bottleneck
Where the pipeline actually slows
Usually storage tiers and upload contention rather than raw machine speed. - 03
Rebuild storage and network
Tiered storage, separated creative traffic, prioritised transfers
Planned so no project is migrated mid-flight. - 04
Codify the workflow
Naming, versions, review links, archive rules
Agreed with the team, then documented so it survives staff turnover.
Scope, spelled out
- Tiered storage for media with automatic archiving
- Creative network separated from office traffic
- Prioritised upload and large-file transfer paths
- Workstations spec’d to the real toolchain
- Managed client review links with expiry and revocation
- Versioned backup of footage and approved masters
- Asset structure and naming conventions
- Render capacity planning for long jobs
Straight answers
We are remote or hybrid. Does this still apply?
Yes, with a shift in emphasis. When editors work from home, per-user zero-trust access, local caching and a discipline about where masters live matter more than a fast office LAN. The storage tiering logic stays the same.
Can you handle our archive of old projects?
Yes. Media archives are usually the biggest quick win, because paying for performance storage to hold completed work is the most common avoidable cost we find in studios.
Do you support Mac and Windows mixed environments?
Yes. Mixed shops are the norm and the storage and network design has to work for both rather than catering to one.
We use a cloud review tool already. What is missing?
Often the control layer: who can access a link, when it expires, whether it can be revoked, and whether access is logged. If a client’s security team asks those questions, the answers have to exist.
Related industries and services
Talk to someone who understands your industry
A short call is usually enough for us to tell you where the real risk sits in your setup. No obligation, and no jargon.