WE'LL FIX IT IN POST™ Probably.
DEPARTMENT FILM + POST
CURRENT STATUS BOOKING
COVERAGE PRE → POST
DELIVERY FINAL-ISH

Capabilities / What We Actually Do

WE MAKE IT. THEN WE FIX IT.

FROM FIRST FRAME TO FINAL EXPORT.

Creative direction, production, editing, color, sound, and delivery for brands, agencies, artists, and people who would prefer the footage to look like the plan.

Start a Project
01
CREATIVE CONCEPT / DIRECTION
02
PRODUCTION CAMERA / LIGHT / ACTION
03
EDITING CUT / RE-CUT / FINAL CUT
04
COLOR BALANCE / GRADE / FINISH
05
SOUND CLEAN / MIX / CHECK AGAIN
06
DELIVERY MASTER / CUTDOWNS / VERSIONS
PRE-PRO YES
PRODUCTION YES
POST OBVIOUSLY
REVISION COUNT WITHIN REASON
SERVICE DEPARTMENT / OPEN KEEP SCROLLING / THERE'S MORE ↓

Service Menu / Pick Your Problem

HOW MUCH HELP DO YOU NEED?

THREE WAYS IN.

Bring us the whole project, bring us a shoot, or bring us the footage you already have. We can enter the timeline wherever things currently are.

SERVICE PATH 01
START → FINISH

FULL PRODUCTION.

You have the idea. Maybe a deck. Maybe three sentences in an email. We help shape it, shoot it, finish it, and deliver something you can actually use.

INCLUDES
  • Creative development
  • Pre-production planning
  • Directing + production
  • Camera + lighting
  • Editing + color
  • Sound + final delivery
GOOD FOR BRAND FILMS COMMERCIALS CAMPAIGNS LAUNCH CONTENT
YOU PROVIDE THE BRIEF OR SOMETHING RESEMBLING ONE.
PROJECT STATE / BLANK TIMELINE WE TAKE IT FROM HERE.
SERVICE PATH 02
CAMERA DEPARTMENT

SHOOT ONLY.

The concept is approved. The schedule exists. People have somehow agreed on a location. You just need the production side handled properly when the red light comes on.

INCLUDES
  • Production planning
  • Directing
  • Camera operation
  • Lighting
  • Location audio
  • Organized media handoff
GOOD FOR AGENCIES INTERNAL TEAMS EVENTS SECOND UNIT
YOU PROVIDE THE PLAN PREFERABLY BEFORE CALL TIME.
PROJECT STATE / READY TO ROLL CAMERA A / ONLINE.
SERVICE PATH 03
EDIT BAY

POST ONLY.

You already shot it. Great. Send the footage, project files, notes, references, and the folder named “final_assets_USE_THESE” and we will take it from there.

INCLUDES
  • Editorial
  • Story shaping
  • Color correction + grade
  • Sound cleanup + mix
  • Graphics integration
  • Masters + cutdowns
GOOD FOR EXISTING FOOTAGE CAMPAIGN CUTDOWNS SOCIAL VERSIONS RESCUE MISSIONS
YOU PROVIDE THE FOOTAGE WE'LL ASK ABOUT THE MISSING CLIP.
PROJECT STATE / MEDIA IMPORTED CURRENT STATUS / RENDERING.
NOT SURE WHICH ONE? Tell Us What You Have

Production Workflow / After You Say Yes

FROM BRIEF TO EXPORT.

THE ACTUAL PROCESS.

Every project is different, but the general sequence is not. We figure out what we are making, prepare properly, shoot what matters, shape it in post, survive revisions, and deliver the files.

01 BRIEF
PROJECT / OPEN

WHAT ARE WE MAKING?

We start with the goal, audience, format, deadline, references, deliverables, and the part everyone forgot to mention in the first email.

CLIENT INPUT BRIEF / REFERENCES / GOALS
02 PREP
PRE-PRO / ACTIVE

MAKE THE PLAN.

Creative direction, schedules, shot lists, locations, logistics, equipment, crew, approvals, and enough preparation to make production day look suspiciously organized.

CHECKPOINT PLAN / APPROVED
03 SHOOT
CAMERA / ROLLING

GET THE FOOTAGE.

Production day. Camera, lighting, audio, direction, coverage, backups, and the repeated question of whether we got one more for safety.

STATUS MEDIA / CAPTURED
04 EDIT
POST / IN PROGRESS

FIND THE FILM.

Footage becomes structure. Structure becomes pacing. Pacing becomes a cut that hopefully looks like this was always the plan.

OUTPUT FIRST CUT / READY
05 REVIEW
CLIENT / NOTES

SAY THE THING.

You review. We revise. Specific notes are wonderful. Timestamped notes are even better. “Make it pop” will be interpreted creatively.

REVISION MODE CONTROLLED / MOSTLY
06 DELIVER
MASTER / LOCKED

EXPORT THE THING.

Final picture, color, sound, graphics, masters, cutdowns, aspect ratios, and whatever platform-specific version appeared in the email thread yesterday.

DELIVERY FILES / SENT
WORKING AGREEMENT GOOD INPUT → BETTER OUTPUT.
FROM YOU CLEAR GOALS

What needs to happen when someone watches this?

FROM YOU ONE DECISION PATH

Fewer mystery approvals. Fewer surprise committees.

FROM US CLEAR UPDATES

You should know what stage the project is in.

FROM US ORGANIZED DELIVERY

Masters, versions, and files named like adults.

01 BRIEF
02 PREP
03 SHOOT
04 EDIT
05 REVIEW
06 DELIVER
NEXT / PROJECT DETAILS SCOPE BEFORE SURPRISES ↓

Project Details / Scope Before Surprises

WHAT MAKES THE JOB BIGGER?

USUALLY / MORE STUFF.

A thirty-second film can be simple. It can also involve three cities, twelve deliverables, two shoot days, six aspect ratios, a drone, a studio, and one person asking whether we can have it tomorrow.

01 SHOOT DAYS
02 LOCATIONS
03 DELIVERABLES
04 RUNTIME
05 CREW
06 TURNAROUND
01 PRODUCTION

SHOOT DAYS.

One controlled half-day and a three-day production are not the same animal. More production time means more planning, equipment, crew, media, and coffee.

SCOPE DRIVER TIME ON SET
02 LOGISTICS

LOCATIONS + TRAVEL.

Every additional location introduces another move, another setup, another schedule, and another opportunity for parking to become the most complicated part of filmmaking.

SCOPE DRIVER MOVEMENT
03 DELIVERY

HOW MANY VERSIONS?

One master is one thing. A master, six cutdowns, vertical edits, captions, alternate endings, platform versions, and localized exports are another.

SCOPE DRIVER DELIVERABLE COUNT
04 EDITORIAL

LENGTH MATTERS.

Longer films usually mean more footage, more editorial decisions, more sound work, more color, and more places for someone to leave a note at 02:47.

SCOPE DRIVER FINAL RUNTIME
05 PRODUCTION SCALE

HOW MANY PEOPLE?

Some jobs need one filmmaker and a compact kit. Others need dedicated camera, lighting, audio, art, production support, and someone whose entire job is knowing where everything is.

SCOPE DRIVER CREW SIZE
06 SCHEDULE

HOW SOON IS SOON?

Normal timelines leave room for planning, review, finishing, and quality control. Rush timelines replace some of that room with calendar gymnastics.

SCOPE DRIVER TURNAROUND
ALSO ON THE CALL SHEET SMALL DETAILS / LARGE CONSEQUENCES
07 ASPECT RATIOS 16:9 / 9:16 / 1:1 / ETC.
08 GRAPHICS TITLES / MOTION / BRAND ELEMENTS
09 AUDIO INTERVIEWS / MIX / MUSIC / CLEANUP
10 REVISIONS FEEDBACK ROUNDS / DECISION MAKERS
11 TALENT CAST / INTERVIEWS / RELEASES
12 SPECIAL STUFF DRONE / RENTALS / STUDIO / PERMITS
ESTIMATE LOGIC WE QUOTE THE PROJECT. NOT THE VIBE.

The clearer the scope, the clearer the estimate. If details are still moving, that is fine too — we just identify the assumptions before anyone gets emotionally attached to a number.

HAVE THE DETAILS? Send the Brief

Delivery Manifest / Final Files

WHAT DO YOU ACTUALLY GET?

FILES YOU CAN USE.

The exact package depends on the project, but delivery should never feel like someone dumped an edit bay onto your desktop and wished you luck.

MASTER DELIVERY READY
PRIMARY FILE FINAL_MASTER.mov
PICTURE LOCKED
COLOR FINISHED
AUDIO CHECKED
STATUS DELIVERED
FILE NAMING NOT FINAL_v9_REALFINAL_USETHIS.mov
01 MASTER

PRIMARY MASTER.

The approved finished film in the agreed delivery format, resolution, frame rate, color space, and codec.

TYPICAL OUTPUT 4K / 1080P FORMAT SET BY PROJECT NEEDS
02 CUTDOWNS

SHORTER VERSIONS.

Alternate runtimes for campaigns, paid media, social posts, web placements, or everyone who suddenly remembers they also need a 15-second cut.

EXAMPLES :60 / :30 / :15 WHEN INCLUDED IN SCOPE
03 SOCIAL

MORE THAN 16:9.

Vertical, square, and platform-specific versions can be prepared when the campaign needs to live somewhere besides a widescreen.

COMMON RATIOS 16:9 / 9:16 / 1:1 PLATFORM REQUIREMENTS APPLY
04 ACCESSIBILITY

CAPTIONS + TEXT.

Burned-in captions, subtitle files, title-safe graphics, and other text-based outputs can be prepared as part of delivery.

OUTPUT SRT / BURNED-IN AS SPECIFIED IN SCOPE
05 HANDOFF

ORGANIZED FILES.

Masters, cutdowns, captions, graphics, and approved exports are separated logically so six months from now the folder still makes sense.

DELIVERY METHOD SECURE LINK OR AGREED HANDOFF METHOD
EXPORT MATRIX DEPENDS ON THE BRIEF / NOT THE MOON PHASE
RESOLUTION 4K WHEN CAPTURE + DELIVERY SUPPORT IT
WEB 1080P LIGHTER DELIVERY OPTION
LANDSCAPE 16:9 WEB / FILM / PRESENTATION
VERTICAL 9:16 SOCIAL / MOBILE
SQUARE 1:1 WHEN THE PLATFORM INSISTS
DELIVERY FOLDER / EXAMPLE ORGANIZED LIKE WE EXPECT TO SEE IT AGAIN.
/ PROJECT_FINAL_DELIVERY
01 MASTERS
02 CUTDOWNS
03 SOCIAL
04 CAPTIONS
05 APPROVED ASSETS
IMPORTANT / BEFORE PRODUCTION DEFINE THE DELIVERABLES EARLY.

The easiest time to discover you need vertical, captions, cutdowns, alternate endings, or twelve localized versions is before the camera rolls. We build the delivery plan into the scope so the production supports the final use.

DELIVERY STATUS FILES / READY
Talk Deliverables
PROJECT INTAKE OPEN
CURRENT STATUS ACCEPTING PROJECTS
NEXT STEP SEND THE BRIEF

Start a Project / No Deck Required

TELL US WHAT YOU’RE MAKING.

WE CAN START WITH THE MESSY VERSION.

A polished brief is great. A rough idea, a deadline, a reference link, and a sentence beginning with “this might sound weird” also works.

INITIAL BRIEF / USEFUL INFORMATION GIVE US WHAT YOU KNOW.
01 WHAT IS IT? COMMERCIAL / BRAND FILM / CONTENT / OTHER
02 WHO IS IT FOR? AUDIENCE / CUSTOMER / PLATFORM
03 WHAT DO YOU NEED? PRODUCTION / POST / BOTH
04 WHEN? SHOOT DATE / LAUNCH / DEADLINE
05 HOW MANY FILES? MASTER / CUTDOWNS / SOCIAL / ETC.
06 ANY REFERENCES? LINKS / DECKS / “LIKE THIS, BUT NOT THIS”
READY WHEN YOU ARE. START WITH THE BRIEF.

Tell us what you are trying to make, what you already have, and when you need it. We will figure out the useful questions from there.

Start a Project
BRIEF PENDING
CALL OPTIONAL
SCOPE AFTER DETAILS
PROJECT LET’S SEE
SERVICES / END OF TIMELINE NEXT STOP / CONTACT →