Approach
Where the audience came from.
Provenance is an art-world word. It is the documented history of an object — who made it, who held it, how it got here — and it is the difference between a painting worth a fortune and the same painting worth nothing. We think attention deserves the same paperwork.
The thesis
An audience is not a number you buy. It is an accumulation of small, traceable decisions — who you chose to speak to, what you chose to say, how often you showed up, and what you did when it stopped working.
When that history is documented, a channel can be valued, defended in a board meeting, and handed to whoever runs it next. When it is not, you own a number that evaporates the moment the agency changes.
So we write things down. The position, the guardrails, the targets, the calls we made and why. It is unglamorous, and it is the entire product.
The sequence
Five stages, in order.
Source
We work out what is actually true about your category, your product and your audience before anyone writes a line of script.
Brief
A written position, a content thesis, and a set of guardrails. You approve this before production starts, and we hold ourselves to it afterwards.
Make
Production to a fixed weekly cadence, through a single review gate. Nothing publishes that has not passed it.
Place
Platform-native publishing on schedule, with paid amplification applied only to work that has already proved itself organically.
Account
Performance reported against the targets set at the brief. Including the months it did not work.
How we make work
Ask us how it was made.
Provenance builds and operates creator channels on its own production stack. Concepts, scripts, imagery and video are produced in house, using a combination of directed production and generative tooling.
Anything synthetic is labelled as such at the point of publication, on every platform that provides the field. If an engagement requires a particular provenance — fully human production, a named creator, an exclusivity window — that is a scoping conversation, and we will tell you what it costs before you commit to it.
How we hold ourselves
The channel is the asset
Campaigns end. A channel with a documented history, a real audience and a reason to exist keeps paying after the retainer stops.
Cadence beats budget
A modest channel that publishes every week for a year outperforms a lavish one that publishes four times. Almost every time.
Report the number honestly
We report the figure we would report if nobody were reading. That occasionally costs us a renewal and has never once cost us a reference.
Say less, substantiate it
We will turn down a claim you want to make if we cannot stand behind it. That is the part of the service you are actually paying for.