Six people, a converted garage in Eastlake, twelve years of getting the shot before lunch. We write, shoot, cut and grade the whole thing under one roof, and we publish what it costs.
Stills from recent work, because a wall of autoplaying video is a lot to ask of a stranger. The full reel is a private link, sent the same day you ask, sized for your screen and not ours.
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Most studios make you ask. We publish the range most projects land in, so the first call is about the film and not the money.
The two-to-four-minute film that says what the About page can't. Interviews that sound like people, b-roll shot like a movie, and a score you'll actually be allowed to use.
Fifteen, thirty, sixty. Scripted, cast, and lit like the product deserves. Cutdowns and vertical versions for every placement are in the price, not an add-on.
Two to four cameras, a same-day sizzle for the closing party, and every speaker cut delivered within the week. We've never missed a keynote and we don't plan to start.
Bring us footage. We bring two edit rooms, a calibrated grade, and a colorist who will argue with you about skin tones and be right.
Ranges are where most projects land, before tax. Every quote is itemized: crew days, gear, post hours, music, travel. Rush is possible and priced like it.
A brand film from first call to delivery. Commercials run tighter, series run longer, and the shape is always the same four steps.
One call, one page. What the film has to do, who watches it, and where. We write the brief back to you in plain words and quote against that page.
Treatment, script, locations, casting, shot list, schedule. The unglamorous part that makes shoot days short and keeps the budget where we said it would be.
One to three days, usually. Cinema cameras, a crew that has worked together a few hundred times, and a lunch nobody complains about.
Assembly, two rounds of notes, sound mix, color, then delivery in every size and ratio you need. We archive the project for three years at no charge.
Two bays on Fell Street. The first is an 850-square-foot stage with a 20-foot cyc, a lighting grid, and a roll-up door big enough to drive a truck through, which we have. The second holds two edit rooms, a sound booth, and the color suite: blacked out, calibrated every quarter, one very good chair.
| Cameras | Two 6K Super 35 cinema bodies, one full-frame mirrorless B-cam, one small crash cam for the rigs we're nervous about. |
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| Lenses | Six vintage-coated primes from 18 to 100mm, a 24 to 70 and a 70 to 200 zoom, one 100mm macro. |
| Lighting | Four 600W LED points, two 2x1 bicolor panels, eight tubes, a 12x12 frame with diffusion and negative fill. |
| Support | Doorway dolly with 16 feet of track, three-axis gimbal, 4-foot slider, jib to 16 feet. |
| Sound | Two-channel field recorder, two wireless lavaliers, a shotgun on a boom, a booth for voice-over. |
| Color suite | 4K reference monitor, grading control surface, 5.1 monitoring, calibrated quarterly with a probe we own. |
We rent the rest. Cranes, a Steadicam operator, a second grip truck, anamorphics: we hire them from people who love them more than we do, and pass the invoice through at cost.
Nobody here is a freelancer we found on Tuesday. The crew you meet on the discovery call is the crew on set, and the person grading your film has watched every frame of the rushes.
Plus a bench of gaffers, ACs and PAs we've called on for years, booked by the day when a shoot needs more hands.
Two of the nicer things. We can put you in touch with either of them, and with the ones who had notes.
They asked one question nobody else did: who has to watch this twice? The film they made has been watched a great deal more than twice.
Thirty seconds, delivered in nine sizes, and for a month every sales call opened with somebody saying they'd seen the cup.
You don't need a treatment, a script or a spreadsheet. Answer these three in an email, in whatever order they come out, and we'll write back within one business day with questions and a range.
Sell something, explain something, recruit someone, or remember a night. One verb is plenty. Two is a series.
A trade-show wall, a phone in a feed, a boardroom screen with the sound off. The where changes the how, and the price.
A date and a range, even a rough one. We'll tell you honestly what the range buys, and what it doesn't.
The brief goes here. Attach anything: a deck, a competitor's ad you hate, a photo of a napkin.
Studio hours Monday to Friday, 9 to 6. On shoot days June, our producer, answers the phone.
Visits welcome by appointment. The roll-up door is the one with the lime stripe.