Why we publish this list rather than claiming everything
Most agency websites list twenty industries because a longer list catches more searches. It also means the list contains sectors the agency has never touched, and a prospect who asks a specific question about one of them finds out quickly. We would rather be findable for seven things we can prove than plausible for twenty we cannot. If your sector is not here, that does not mean we cannot help. It means we would be starting from your knowledge of the category rather than ours, and we would say so on the first call rather than after you had signed.
What actually transfers between sectors, and what does not
The craft transfers almost entirely. How to write a hook, how to structure a shoot so the edit is possible, how to read a retention graph, how to tell whether an ad account is underperforming or mismeasured. None of that changes between jewellery and building materials. What does not transfer is the commercial shape: how long the buying cycle runs, who actually makes the decision, what the real objection is behind the stated one, and what a good month looks like. Those are the things a specialist page is for, and they are the things a generic agency gets wrong for the first two quarters while learning them on your budget.
The buying cycle decides almost everything else
The single most useful thing to establish before planning any programme is how long it takes someone in your category to go from first exposure to a decision. A jewellery buyer researches for weeks. A construction client decides over a year, mostly in private. Somebody buying a bottle of water decides in two seconds in front of a cooler. Those three timescales demand different content, different measurement and completely different expectations of when anything will show up in a report. Most disappointment with marketing agencies traces back to a mismatch here rather than to bad work.
The channel that works is a property of the sector
There is no universally correct channel, and the confident claim that there is should be treated as a warning. Short-form video is the right first move for jewellery and cycling because the product needs to be seen moving. Search and technical content carry more weight for building materials, because specification decisions begin as queries. Local search does most of the acquisition for a healthcare specialist. A packaged water brand gets more from physical visibility in its catchment than from national reach. We pick the channel from the category and the commercial problem, not from what the studio most enjoys making.
Every category has one objection, and it is rarely the stated one
Ask any sales team what stops deals and they will say price. Push once and it turns out to be something else. In construction the objection is delay and cost overrun. In building materials it is risk of failure, which is why price content does not work there. In jewellery the price question is real but it is actually a request for a reason. In advisory work it is whether the expertise generalises to a situation the prospect believes is unique. Identifying the real objection is the first thing we do on a new account, because content that answers the wrong one is expensive and busy and changes nothing.
What the creative has to do differs more than the creative itself
In some categories the creative has to make something invisible visible: a material property, a manufacturing standard, a reason a price is what it is. In others it has to make a commodity recognisable in two seconds. In others again it has to demonstrate judgement rather than describe it. The production values can be similar across all three and the brief is not remotely the same. A studio working from a house style rather than a category brief will produce competent content that does the wrong job well.
Sector experience does not mean we will work with your competitor
Depth in a sector raises an obvious question, and the answer is that we do not run competing accounts in the same market without both clients knowing. We say so before starting rather than after. This occasionally costs us work and it is not negotiable, because the alternative is a client discovering it later, which ends the relationship and deserves to.
How industry pages relate to our service pages
The services section describes what we do: video editing, performance marketing, search, design, social media management and the specialist capabilities around them. These industry pages describe who we do it for and what changes when we do. The two are meant to be read together. If you already know you need short-form video, the service page is the faster route. If you know your sector and not your bottleneck, start here and the relevant services are linked from each page.
What we show, and what stays private
Most of our published case studies do not name the client, because most clients have not asked to be named and we do not put a brand on a public page without that. One has agreed and is named. What is accurate on every case either way is the sector, the scope of work and the audience size, and the work itself is on the page. What never goes public is the commercial layer: spend, rates, margins and anything a client has asked us to hold back. On a call we can go considerably further, under an NDA if that helps. What we will not do is publish a client we have not worked with, a testimonial nobody gave or a metric we cannot source, which is a policy that has survived several requests to relax it.
Where to start if your sector is not listed
Describe the commercial problem rather than the service. The most useful first conversation is usually about what is not working now and what has already been tried, because that determines whether the answer is content, media, search, a website or something that is not a marketing problem at all. We will tell you what we would do first, whether the sector is one of these seven, and whether it is worth paying us for.
How we decide whether a sector is worth a page
The test is simple and it is deliberately restrictive. There has to be an account we have actually run, published as a case study, with a scope we can describe accurately. That is why there are seven pages and eight case studies rather than a page for every category a fifteen-person studio could theoretically serve. It also means this list grows slowly, and only after the work exists. If you are reading this in a year and there are nine, it will be because two more accounts finished, not because two more searches looked promising.
What a first conversation about your sector usually covers
Four things, in roughly this order. How long your buying cycle runs and who is involved in the decision, because that sets every expectation that follows. What has already been tried and what happened, which is usually more informative than anything on a brief. Whether the numbers you are currently looking at are trustworthy, because in a large share of the audits we run they are not, and optimising against wrong numbers is worse than not optimising. And what would have to be true in six months for the spend to have been worth it. None of that requires us to be experts in your category. It requires you to be, and us to ask properly.
Why sector depth matters most in the first quarter
A generalist agency and a specialist one converge over time, because craft is the larger part of the work and craft is transferable. The difference is concentrated at the start. In the first quarter a specialist already knows which format to test first, which metric will dip before it climbs, and which objection will appear in the comments. A generalist finds all of that out, correctly and expensively, on your budget. If you are commissioning a twelve month programme the gap matters less than if you are testing an agency over three months, which is how most of these relationships actually begin.
The measurement changes with the sector, and it should
Judging every account on the same dashboard is how good work gets cancelled. A jewellery programme measured on same-week conversions looks like a failure while it is working. A construction account measured on lead volume looks like a failure while it is producing the four projects the firm can actually deliver. An FMCG brand measured on national reach is being measured outside its sales catchment. Setting the right small number of metrics before the first month is not administrative tidiness. It is the thing that determines whether a programme is allowed to run long enough to work.
Written by the Digihandler studio · Rohtak, Haryana · founded 2018 · fifteen people · roughly 250 brands
