Film Media Production & Behind the Scenes
The crew, the carpet, and the six hours either side of the shot.
Most of production is not the take. It's the walk in, the reset, the press line, the room filling up, and the second unit standing in wet undergrowth waiting for a cloud to move. We shoot motion and stills on the same jobs, so the behind-the-scenes coverage is made by someone who already knows where the camera is going and can stay out of it.
Send the schedule and the call sheet. Tell us what's embargoed and we'll shoot around it.
Start the conversation
The take is the short part.
Everything on either side of it is the job — and it's usually the part that ends up carrying the film's whole press cycle.
Studio days are the opposite problem: nothing moves, so the only thing you can change is where you stand and when you stop waiting.
The press line.
A few seconds per outlet, everyone shooting the same face from the same rope, and the only variable is whether you got the one where they meant it.
A step-and-repeat is a branding exercise that happens to contain a person. The job is to find the half-second where that stops being true.
And the tour that comes after.
The circuit — halls, lecterns, roundtables, the same talk in a different room — photographed so that each stop doesn't look like the last one.
And somebody has to be filming that, too — which is usually where we're standing when the still gets taken.
Behind the scenes only works if you were genuinely behind them, and nobody had to move for you.
Send the call sheet.
Dates, locations, and what's under embargo. We'll tell you what we can turn around same day.
