How I work
You've got the creative and someone handling the edit. You need somebody to make the shoot happen, whether it is your launch or your client's.
That's me. From founder shoots to multi-day campaigns, I build the production around what you're making. Here's how we work together.
Have the creative? I'll run the shoot.
This is production only: crew, equipment, locations, preparation, and a shoot that gives your editor what they need. If you're a startup team with a script or an agency already handling creative, you can hire me directly. Studios and agencies can keep the whole production under their brand.
Need the concept, script, and finished film handled together? See complete launch videos for AI and software startups. We agree the creative, production, and post-production responsibilities in your scope.
Two ways to structure the production
I'm your production company
You stay on the creative and the client. I contract the crew, wrangle permits and insurance, hold the budget, and take on the risk. One contact, one invoice, and your client never touches a vendor. As far as they know, you made it happen.
Most studios pick this one.
The crew, equipment, locations, and schedule are built around the brief. A founder shoot, a multi-location launch, and a larger campaign each need their own production plan. You see the scope and budget before anything is booked.
I'm your producer
You stay the production company. You hold the contract, the insurance, and the budget. I come in as your line producer, crew the shoot, book gear and locations, build the schedule, and run the day.
Nothing changes about how you already work. You just stop doing the part you don't want to do.
I can produce remotely with a local lead or join you on set. Prep and shoot days are itemized in the quote before you approve it. Crew, gear, insurance and locations are contracted and paid by you.
Where does the budget go?
Most of what you pay isn't my fee. It's crew, gear, and locations at cost.
You get line items for crew, equipment, insurance, locations, permits, travel, and the other costs your production needs. Those production costs are passed through without markup.
The rest is our producing and management fee. It's what makes the day come out the way you pitched it.
You see all of it before you approve anything, and what it actually cost after wrap. Come in under budget and the difference goes back to you. I get your approval before an overage happens, never after.
Bring the brief to a call for a tailored quote. If you're still exploring, use the calculator for an initial planning budget. Multi-day productions, multiple locations, and larger campaigns are scoped together on the call.
What the day is actually like
The shoot day should be boring. Boring means the call sheet was right, the crew got fed, and nobody's improvising at 6am.
I answer the phone. I tell you what something really costs before you ask twice. I don't make a shoot day feel like an emergency, and I don't make the client feel dumb for asking a question.
The whole job is keeping the train on the tracks. Everything else is decoration.
Whose name is on it?
Yours. White label is the default and it's what most studios want. Your client sees your brand, your deck, your invoice. No one has to know it's me. No one has to know it's my company.
Staying invisible is part of the service.
Whatever crew we put together, they're the face of your company that day. Your client is putting their founder in front of a camera, which is a big moment for them. I take that seriously.
If you'd rather introduce me as your producer, great, I'll shake hands and answer questions. You decide before we start and I'll follow it.
What actually happens?
A call, about twenty minutes. Give me the city, the dates, what we're making, and a budget range.
2-3 business days later you get a crew list, a schedule, and a number. Not a range. A number.
You approve it. I book crew, gear, locations, and insurance, and the call sheet shows up before you think to ask for it.
On the day, I run it. You can be on set, or somewhere else entirely. Plenty of clients pick somewhere else.
On production-only jobs, footage goes to your editors. If we have scoped post-production too, the quote names the edit, review rounds, and final versions.
Give me too much context
Dates, even rough ones. The city. What we're making and where it runs. A budget range. And who has final say on creative, because the fastest way to blow a shoot day is two people with equal authority.
Past that, I'm always craving context on the front end. Talk at me for five minutes and send me the recording. The thing that wrecks a budget is never the script. It's the detail nobody mentioned. Eleven people on camera instead of one. Six shirt changes.
What I don't need: a finished script or a shot list. Send them if you have them.
What is included, and what is extra?
Producer days get scoped in days. You see the day count in the quote before you approve it.
Prep and shoot days are scoped separately to the job. Prep is the real work. Crew sourcing, vendor booking, budgeting, deal memos, insurance certificates, schedules, call sheets.
Anything added after approval gets quoted as a change. I won't quietly absorb a second location, a third deliverable, or an extra week of coordination and then hand you a surprise at wrap.
A quote built around your production
Tell me what we're making, where it runs, the dates, the locations, and the team you already have. We'll agree what I own, what your team handles, and the crew and resources the work needs.
The quote covers the agreed preparation, shoot days, production management, and any directing or post-production. Casting, art department, travel, multiple locations, and delivery requirements are scoped to your project.
For an initial planning budget, price your shoot. For a launch, a keynote, or a larger campaign, book a call and let's build the scope together.
Payment. The production budget clears before I book crew or gear. I do not finance productions, and you never pay for work I have not scheduled.
Straight answers
Do you have to be on set?
Not always. I can produce remotely with a local lead on set, or be there in person when the production needs it. We agree the setup, producer days, and any travel in the scope.
How fast can you turn a quote?
Two to three business days from the call. A crew list, a schedule, and a firm number.
What if we need it sooner?
Bring the date to a call. I'll confirm availability, what we can deliver, and any rush costs before you commit.
Can you direct, or just produce?
Both. I also host on camera. Most of the time clients want the producing, so that is what I lead with.
Who owns the footage?
You do. Once the production budget clears and the work is delivered, the footage belongs to you. I don't retain rights, and I don't post the work without asking first.
What do you not do?
Weddings, events for their own sake, and high-volume social content at low margin. Saying so up front saves us both a call.
See the production in practice
Circle Website Builder shows a product launch filmed in New York. The Times Square campaign shows a larger location production. Planning your city? San Francisco or New York City.
Ready to talk?
First thing I ask on a call is what you want to walk away with. So bring me that, plus the city, the dates, what we're making, and a budget range.
Two to three business days later you'll have a crew list, a schedule, and a firm number. If I'm not the right fit, I'll tell you in the first ten minutes.