Media · Production
Video production from our own crew in Toronto.
Full in-house production for the brand story you are trying to tell. Video, photography, broadcast, motion graphics and audio, all from one specialized media team. The look, the cut and the sound arrive together, on schedule, in the format every channel needs.
The interview
We build and light the set before anyone is miked.
Lights go up on stands, a key and a fill. The camera is set and framed. Sound is checked on the subject, not on the room. By the time the first question is asked, nothing is still being worked out.
Two-hander setup — lavaliers on both, the published piece on the tablet between them.
We shoot in the space you already have.
We arrive with the camera, the sticks, the lights and the sound, and we build in whatever room you are already in — a boardroom, a shop floor, a site office. There is no studio hire on your invoice and no day lost moving your people to one.
We plan the running order in the room.
A story lineup goes on the board before a call sheet exists. We agree what the piece has to say, who says it and in what order, then work backwards to the shoot day. Locations get scouted for sound as much as for looks — an interview in a beautiful room with a loud vent is a re-shoot.
Built in a client’s own room — camera on sticks, panel key up, both subjects miked.
- Light
- Panel key, octabox fill
- Sound
- Lav and shotgun, both ours
- Camera
- Sony body, sticks or gimbal
- Where
- Your location, or our Toronto room
The kit
We own a full working kit and scale up from there.
Everything a standard shoot runs on is ours outright, so a normal day carries no hire-house line. When a job needs more than the house kit holds, it comes in through rental partners we work with regularly, and it is quoted with the shoot.
Camera & movement
Cinema and mirrorless bodies with a full prime and zoom set, run locked off on sticks, handheld, on a stabiliser or in the air. Enough on hand to cover an interview from more than one angle at once and keep rolling while a second camera is repositioned.
- On hand
- Multi-angle interview coverage, stabilised movement, aerial, tripods, filtration and spares
- Scales to
- Larger camera packages, longer and specialist lenses, more bodies for a bigger set
Mics & audio
Wireless lavalier and shotgun coverage, with enough channels to mic several people at once. The room is recorded alongside the lavaliers so the edit always has a second source to cut on, and everything is windshielded for street and exterior work.
- On hand
- Multi-channel wireless lavaliers, shotgun room coverage, wind protection
- Scales to
- Boom and mixer rigs, higher channel counts, panel and stage sound
Lighting
A soft key on a boom, panels for fill and separation, and the stands and grip to shape them in a room nobody designed for filming. Enough to build a clean interview set in an office, a boardroom or a shopfront.
- On hand
- Soft key, fill and separation panels, stands, grip and modifiers
- Scales to
- Higher-output fixtures, larger modifiers and diffusion, lighting for bigger spaces
On set
We are in the room, not behind an email.
The people who quote the job are on the floor on the day. Staging, styling, wrangling the talent and running the schedule are ours as well as the camera — which is why a shoot day does not need a producer you also have to hire.
In-house
Planning, shooting and post are the same team.
The people who plan it are the people who shoot it and the people who cut it, so nothing sits in a queue waiting for a vendor to get to it.
- 01 · Pre-production
- The running order is agreed first, then the day is built backwards from it — who is needed, for how long, and in what order they are on camera.
- Shot list & call sheet
- 02 · Shoot day
- We arrive early, build the set, and light and sound-check before your people are called in. Your team is on camera for the time on the call sheet, not for the time it takes us to get ready.
- Footage, backed up twice
- 03 · Post & delivery
- Cut, colour, sound and motion graphics happen at the same bench that staged the camera. One look across the film, the social cuts and the stills, because one team made all three.
- Master plus channel cuts
On the log
What we have shot so far.
This is a young production practice and the list is the list. Everything on it ran with the crew and the kit above — no sub-contracted shoot days, no stock standing in for work we did not do.
- Private condo, Toronto
- A beauty brand shot on location inside a private residence — product, application and lifestyle stills in one day.
- Photography
- A working salon, Toronto
- A second beauty set, built and struck between real appointments without closing the floor.
- Photography
- The booth
- A podcast recorded, mixed and mastered in-house.
- Audio
- Interview block, 7–8 August
- Two full interview days across a boardroom and a lit set — 63 clips to the drive, the sets pictured at the top of this page.
- Video & broadcast
- Stellar Social
- An interview series shot for a partner’s channel — six pieces, single-camera with lav and shotgun.
- Video & broadcast
- Downtown Toronto
- Unscripted street interviews shot handheld across the core.
- Video & broadcast
Worked example
Unwrinkled — a product line, shot in a day
A skincare client in the TNAADO incubator. Four set-ups in one day — a private penthouse for the location stills, packaging flat on white for the store pages, a lit studio wall for the campaign, and window light for the social cuts. Lit, shot, retouched and delivered by the same team.
Read the case study
Start a production
Tell us the story.
Tell us what you are launching, what the story is and where it needs to live. We will come back with what it takes to shoot it — a crew, a day and a delivery date, not a brochure.
Start a conversation- First step
- A 20-minute call. You leave it knowing the format, the crew and the day.
- Typical shoot
- One day on location, built and struck by us.
- Where we shoot
- Toronto and the GTA. Further for the right job.
- What to send
- What it is for, roughly when, and where it has to run.