Equipment
Built to a standard, not a budget.
The cameras, sound and colour behind every piece we make, and why it matters to your business.
A high quality video says high quality business.
Before a customer reads a word about you, they've already judged you on how you look. A sharp, well-lit, properly graded video tells them they're looking at a company that cares about the details. Soft, flat, badly lit footage does the opposite, and it does it to good businesses every day.
So we make everything to the highest standard we can reach. Not most of it. Everything.
Shot on Netflix-approved cinema cameras.
Netflix publishes a list of cameras it will accept for its own productions. We shoot on them. The footage is captured in log, graded by hand in DaVinci Resolve Studio, the same software used to finish Netflix series and feature films, and delivered with sound recorded properly on every voice. The same kit, the same process, applied to a builder's reel or a podcast.
See the grade, frame by frameWhat comes out of the van.
We could list everything we own. It wouldn't tell you much. Here's one real shoot day instead, and why each piece is there.
Sony cinema line
The FX3 and FX30 bodies. Full frame and Super 35 sensors built for film, not stills, so they hold detail in bright skies and dark rooms that a phone throws away.
Sigma 18-50mm F2.8
Wide enough for a whole kitchen, fast enough for dusk exteriors and dim interiors without cranking the sensor.
Rode Wireless PRO
Every voice on its own channel, with a backup recording inside the transmitter. Viewers forgive a soft shot long before they forgive bad audio.
Gridded octabox and softboxes
Controlled light, not whatever the room happens to have. It's the difference between a face that looks lit and a face that looks filmed.
Drone and gimbal
The DJI Mini for the establishing shot and smooth handheld movement for everything on the ground.
DaVinci Resolve Studio
Every clip graded by hand through the same node chain, whether it's five seconds long or three hours.
There's more in the van than this. These are the pieces that decide how the finished content looks.
It takes longer. It costs more. That's the point.
Working this way means more kit on every job, more time on set, and hours in the grade that a phone edit would skip entirely. It's slower for us and it's more expensive for us.
We do it anyway, because we believe it's the better way to make content, and because our clients are judged on the result, not on how quickly it was made.
It's not the cheapest way to make content, and it isn't meant to be.
Let's talk
Find out if we're a good fit.
Thirty minutes on where your brand is losing work and what it would take to win it back.