Cinematic silent hiking films.

Every film is a single trip, shot alone and carried out on foot. A route takes weeks to walk and film, and then up to 200 hours to edit. Nothing is padded, nothing is rushed out to hit an upload schedule, and there is no second channel absorbing the offcuts.

That pace is the point. A brand that appears on one of these films is not appearing next to this week's upload. It is appearing on a piece of work that took a season to make and will be watched for years.

There is no narration and no presenter. No voice explains the gear, no script sells anything, and there is no mid-roll break to skip past. What is on screen is the walk, the weather, the light and the sound of the place.

The audience has self-selected for exactly that. They are not scrolling. They have put a forty-minute film on a television and sat down with it.

• Television88.3%
• Computer7.8%
• Phone and tablet3.9%

Device split, last 365 days.

Nearly nine in ten views happen on a big screen. This is not phone viewing in a queue. People choose the film, cast it to a television, dim the room and watch it the way they would watch a film. Average view duration across the channel is 20 minutes and 11 seconds.

For a partner that changes what the opening credit is worth. It is seen at the size of a living-room screen, by someone who has just committed twenty minutes of attention, and without a single competing message anywhere in the film.

A film does not stop working when the release week ends. Across the whole back catalogue, films past their first year average more than double the first-year figure and are still climbing. Films published three and four years ago are still being found today, and the partner credit is still on the front of every one of them.

That is why the channel does 16.5 million views a year off six to eight releases. Most of those views come from the back catalogue, not the new films. A sponsor is not buying a launch window. They are buying a permanent credit on a growing library.