The approach

All under one roof.

01Pre
02Scout
03Shoot
04Edit
05Cut
06Ship

The shooters on set are the editors who lock the picture. Nobody in between, no producer passing notes from a Slack thread, no agency layer watering down the take. Every job we deliver is one voice, end to end.

How every project runs

Phase 01 · Pre-production

Brief & scout

The first conversation is 30 minutes, by phone or video. We cover the car, the build, the audience, and the one cut you want viewers to remember. After that call, we scout the location and the route (when the brief calls for rollers), pull references, and lock the creative direction in writing before anyone rolls. No decks, no committees: a single one-pager you sign off on.

Phase 02 · Pre-production

Shot list & rigging

By shoot morning, the shot list, beat sheet, and gear list are signed and time-stamped. No improv, no "we'll figure it out in post." If it's not on the list, it doesn't get shot. If the gear isn't on the truck, it doesn't get rolled. No surprises on shoot day.

Phase 03 · Shoot day

Shoot

Compact crew means tighter clearance, fewer walkie channels, and a faster day. We usually wrap in 4 to 6 hours: call at sunrise or sunset, wrap by lunch or dinner. The whole day is built on what we've been planning for and executing it.

Phase 04 · Post

Edit & color

Same shooters, same room, same colorist. One cut at a time: no parallel edits, no other agency's project competing for colorist time. Revisions are timed to two rounds: first pass within a week, final master within two. Anything past round two means we missed something in pre-pro, and we'll eat the cost.

Phase 05 · Distribution

Cutdowns

Vertical 9:16, square 1:1, ultra-short 5s and 15s hooks: all pulled from the locked master the same day we lock the hero. No reshoot, no Frankenstein edit pulled from b-roll, no captions copy-pasted from another platform. Each cutdown has a different hook beat and a different on-screen type stack.

Phase 06 · Ship

Deliver & ship

Master file, cutdowns, and stills: all dropped in your inbox as a single cloud drive link. Files are already optimized for social media, ready to upload and post straight from the download. Captions are burned in, .srt sidecars included.

When we're not the right fit

If the brief needs a different shape, we'll pass on it.

We're a small crew, and we bend where we can to make every brief work. But here's what we can't do.

Producer-layer agencies

If the brief passes through an account manager, a creative director, and three rounds of notes before it reaches the DP, the cut will reflect that. We work with one decision-maker on your side and one director on ours. If you need a producer in the middle, we're not the right crew.
Committee approvals on the cut

If the master needs sign-off from five stakeholders, we'll lose the cut to consensus by round three. Name one decision-maker per project up front: that's who we cut for, that's who we lock the master with.
Stock footage, archive pulls, or repurposed b-roll

We don't cut against stock libraries, we don't pull from other agencies' archive, and we don't reuse b-roll across clients. Every frame in the master we ship came off a camera we ran on a day we were on set.
Bids under a half-day

If the brief is "one hour of usable footage, two angles, by Friday," we can probably do it: but the cost won't scale down the way you'd expect. Our minimums are real minimums because the cost of getting the crew and gear to set is the cost.

Why we work this way

The fastest way to a good cut, is fewer hands on it.

// 01

Fewer handoffs, fewer notes

Every handoff in a production pipeline loses a half-day to context. We collapsed the pipeline into a single crew so the notes between the shoot and the cut fit in a 60-second voice memo.

// 02

The shooter knows the editor

Most of our cut decisions are made on set because the editor is standing next to the camera. Less footage to wrap, less footage to dig through, less "we'll figure it out in post."

// 03

Same crew, every job

You'll work with the same director and editor from project to project. No onboarding next time, no re-explaining your voice. Just the next build.

// 04

Pricing reflects the shape

Because the crew is small, we quote tight. Half-day shoots, single-day edits, all-in flat rates for the simple stuff. No producer line item, no agency markup.

Where we work

// Base

Los AngelesTravels anywhere in the US

// Team

Shooters, directors, editors, coloristall under one roof

// Format

Films, recaps, cutdowns, stillsshort docs and series arcs

// Motto

Keep it sharpKeep it short. Keep it yours.

Next move

Got a build? Let's go.

Start a project →