Nine projects,
in full.
Not a gallery. Nine engagements with the brief, the constraint and what came out of it — the way we'd walk you through them in a meeting.
Let the founder talk. Cut everything else.
Corporate films usually die from over-scripting: someone reads a message they don't believe and the audience feels it. We shot this one as a conversation instead — two cameras, controlled interior light — then cut for the moments where he sounds like himself. Vertical cutdowns came out of the same footage.
Luxury performance golf, on the course it's made for.
A studio would have shown the garments. It wouldn't have shown the fabric moving through a swing or holding its shape in Florida humidity. We shot the campaign on course with real players — the brand film below, and stills from the same campaign for ecommerce and print.
Every format framed on set, not cropped later.
Cropping one master into every format is how brands end up with a face cut in half. Here the horizontal spot, the vertical cut and the stills were each framed for where they'd run — so the frames on eyes and product hold on a landing page, in a feed and on a shelf card alike.
Shot as raw material, not as a recap.
Most event video ends up as a recap nobody rewatches. We covered this one to be cut apart: keynote coverage, floor conversations and clean room tone, delivered as a highlight film plus vertical pieces that stand on their own in a feed.
Hard sun, used on purpose.
Full Miami sun is unforgiving on white stucco and travertine, so the frames are built to use it: hard palm shadow across the facade, deep blue sky as a graphic block, and the wood slats carrying the warmth. Wide elevations for the listing, tight material detail for the architect.
Motion on water.
Full-day event coverage: from embark to the sunset deck party. Multiday, multicamera, turnaround for highlights reel same evening. The sea moves constantly—composition has to account for it.
Fine jewelry, shot as a place.
High-end jewelry is usually filmed as macro on black — the piece and nothing else. For a Boca Raton showroom the buying decision happens in the room, so the film treats the room as the subject: sightlines down the cases, the light in the vitrines, the scale of the space. The pieces are still there in close-up, but they belong to somewhere.
Selling a travel agency with the sport it flies for.
Fly Polo moves players, grooms, families and horses between Argentina, England, France, Spain, the US and Dubai. An agency ad would have shown a plane. This one shows the season — the speed on the field the travel exists to serve — and lets the service line land at the end.
Cut from four years of polo coverage shot for USPA Global, so the spot didn't need a shoot day: the footage already existed, at the level the client's audience recognises.
A sport that doesn't wait for the camera.
Polo runs at forty miles an hour across three hundred yards — there is no second take and no mark to hit. Four seasons shooting tournaments for USPA Global taught the coverage plan this film uses: long lens on the play, a second camera on the sideline and the prize-giving, and the cut built the same night so the organisation posts while the crowd is still there.
There's more we can't put on a public page.
Some of the work sits under NDA. Tell us your sector and we'll bring the closest thing we've shot to the call.
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