WE TREAT PRODUCTION LIKE CINEMA.

Film, motion and the whole edit, from the first board to the final grade. Cinematic is not a luxury here, it is the baseline. Most brand films die in the edit because nobody decided what they were about. We decide first, then shoot, then cut hard. A finish that holds up on the big screen and the small one. Films that earn the room they take up.

What we do

Production from concept to final cut, held by one crew the whole way. Directed, shot, edited, graded and mixed by the same people who pitched it, so nothing gets lost in a handover and there is nobody left to blame but us.

• Concept & treatment

  The idea, the script, the look. Boards, references and a treatment that shows you the film before anyone spends a penny shooting it. A thin thought does not get thicker on set.

• Pre-production

  Casting, locations, recces, permits, schedule and a budget that tells the truth. The unglamorous week that decides whether the shoot day runs calm or runs over. We do it properly so the day itself is boring.

• Shoot & direction

  Directed on set or on location, crewed to the brief rather than a rate card. One camera and a tight unit, or a full crew with a DoP, a sound recordist and a first AD keeping the day on its feet.

• Edit

  Where the film is won or lost. Assembly, rough cut, picture lock, then every cutdown and aspect ratio the campaign needs. Cut for rhythm, for story, and for the point you are actually paying for.

• Sound, music & mix

  Dialogue cleaned, sound design built, score written or track licensed, then mixed and mastered to the spec of wherever it lands. Sound is the half of a film people only notice when it is wrong.

• Grade, graphics & delivery

  Titles, motion graphics and VFX cleanup nobody is meant to spot. Then a proper colour grade, and masters cut to every spec and every screen it has to land on. Delivered ready to run, not ready to argue about.

How we work

You bring the brief. We build the team around it: the right director, the right crew, the right editor. You see a treatment before we shoot and a rough cut before we finish. We shoot what we sold you. Changes get scoped up front, so you know what a rethink costs before you ask for it. Then you get the masters, the rushes and the project files. You paid for the film, so you own the film.

Common questions

How much does a brand film cost?

The camera is the cheapest part. Cost is driven by shoot days, crew size, cast, locations and how long you want to run the film for. Talent buyouts and music licences are what quietly blow a budget, because both are priced by media and term. We price the whole thing before we shoot, and we tell you where the money is actually going.

How long does it take to make a video?

For a single shoot day, four to six weeks from brief to delivered master is a realistic run: pre-production, the shoot, then edit, sound and grade. The edit is rarely the hold-up. What actually eats the clock is casting, locations and your own approvals. We can move faster when a deadline demands it, but we will tell you what gets sacrificed.

Do we own the film and the footage?

You own the finished film, the masters and the rushes. Where it gets misunderstood is licensing. Actors and music are not bought outright, they are licensed by media and by term, so a film cleared for two years of social is not automatically cleared for TV or for year three. We write the usage into the quote so you know exactly what you have, and for how long.

Can one shoot cover TV, social and the website?

Yes, but not by cropping a landscape film into a square at the end. That is why so much social video looks like an afterthought. We frame for every crop on the day, shoot the vertical passes while the set is still up, and build the cutdowns into the edit rather than bolting them on. One shoot, one budget, versions that were actually designed.

Roll camera.