Drone filming
Drone filming gives a project the view that ground cameras cannot reach, such as the shape of a building, the scale of a crowd or the way a place sits in its surroundings. Our drone filming page covers it in detail, so here is the short version. We begin with what the shot must show and where it falls in the finished film, then plan the location, the access and the weather alternative around it.
A clear picture of the intended edit stops us filming more than the project needs. The quote reflects the number of locations, the length of time on site, whether another person is needed to look after the area around the flight, and whether we also edit the footage or hand it over for your own team to use.
Aerial filming
Aerial filming covers any shot taken from above, and it often works best when it is part of a longer story rather than a standalone showpiece. An aerial establishing shot can open a film, connect two ground scenes or show how far a site stretches. We saw this in the ExCeL London anniversary film, where aerial imagery sits alongside archive material and motion graphics.
Before a date is agreed, we review the location, the access and the conditions that affect the shot. The quote depends on the number of aerial shots the film needs, how long we stay on site, how flexible the date can be if the weather is poor and whether the footage goes into a finished edit or to your own editor.
FPV drone
FPV stands for first person view, and an FPV drone produces fast, flowing shots that swoop through spaces in a single move. Venues, buildings, vehicles and busy events all suit it, because the camera travels where a conventional aircraft or crane would not fit. Those shots work best when they are planned like choreography, with a clear start, path and finish.
We agree the route with you, check the space beforehand and decide how the shot cuts into the rest of the film. FPV footage is usually a short, striking part of a larger piece, rather than the whole of it. The quote is shaped by the number of flythrough shots, the site and its access, the time needed for rehearsal and filming and the amount of editing the finished sequence requires.
Drone photography
Drone photography produces still images from above, for property, construction, events, tourism and marketing. A single well-composed aerial photograph can show an entrance, a development or a whole site in a way that a walkaround cannot. We discuss the viewpoints you need and the time of day that gives the best light, then plan the location and the weather alternative as we would for a film.
The set of images is edited to a consistent look and delivered ready for your website, brochure or presentation. If you also need video, we can capture both in the same visit. The quote reflects the number of locations and viewpoints, the time on site, how many finished images you want and whether the shoot sits alongside video or stands alone.
360 and virtual tours
A 360 film or virtual tour lets a viewer look around a place by turning their screen, phone or headset. Venues, offices, hotels, show homes and exhibition stands use them to give people a sense of the space before they visit. The key to a good tour is deciding where the viewer starts, where they can go next and what they should notice along the way.
We walk the space with you first, agree the route and the points of interest and plan the filming around people and light. Quiet spaces are easiest to capture, so we often schedule around opening hours. The quote depends on how large the space is, the number of viewpoints, whether you want a guided route or free exploration and where the tour will be hosted.
Time-lapse
Time-lapse compresses hours, days or months into seconds, so slow change becomes visible. Construction progress, building site activity, setting up an exhibition and the changing light over a skyline are all common subjects. Success depends on planning, because a camera must stay in the right place with a steady view for the whole period and nobody can reshoot a week that has passed.
We agree the viewpoints, the interval between frames and the final length with you at the start, and we check the position of each camera as the work continues. Long projects need a plan for access, power and security of the equipment. The quote is shaped by the filming period, the number of cameras, the site visits required and the length and finish of the edit.
Slow motion
Slow motion stretches a fleeting moment so viewers can see what happens in it. A splash, a gesture, an athlete in motion or a product in use all gain weight when they are slowed. Capturing it well means recording at a higher frame rate, which asks for more light and careful planning of the action, since a slow shot only works if the moment repeats well enough to film.
We talk through the moments you want to slow down, rehearse where we can and choose the frame rate to suit the effect. In the edit, slow motion is best used sparingly, so that the slowed shots stand out against normal speed. The quote reflects the number of slow motion shots, the lighting they need, the time to repeat the action and how much finishing is required.
Cinematographer hire
Hiring a cinematographer puts an experienced person in charge of how your film looks. They choose the framing, the lighting and the movement, and they work with a director or producer to turn a written idea into images. This suits agencies, in-house teams and production companies that have a story but need someone to shoot it.
We start by reading the brief and agreeing the look you want, then bring the right people to the shoot. You can hire a cinematographer for a day, for a project or as part of a complete production from us. Sharing references helps us match the tone. The quote depends on the number of days, the style and scale of the shoot, the location and whether the camera and lighting come with the hire.
Crew hire
Crew hire supplies the people you need to film, without commissioning the whole production. That might be a camera operator, a sound recordist, a lighting person or a small team that joins your production company, agency or event. It helps when your own team is stretched, when a shoot needs more hands or when you want a trusted crew on location in London.
Tell us the role, the dates and the call time, and we confirm who we can send and what they will need from you. Clear briefing on the day makes the crew effective straight away. We can also take on the editing afterwards if you wish. The quote depends on the roles, the number of days, the hours on set, the location and whether equipment is included with the crew.
Video editing
Video editing turns hours of footage into a film that works. It decides the order of scenes, the pace, the length and where the picture and the sound meet. Many clients bring us footage that someone else shot, such as an event recording, an interview or material from their own staff, and ask us to shape it into something they can publish.
We begin by watching what you have and agreeing the purpose, the length and the versions you need. A first cut goes to you for review, followed by the agreed rounds of changes. Titles, music and subtitles can be added where the brief calls for them. The quote is shaped by the amount of footage, the length of the finished film, the number of versions and the review rounds.
Colour grading
Colour grading gives a film its final look. First it makes shots match, so the same scene looks the same from one cut to the next. Then it shapes the mood, such as warm and inviting, cool and precise or high in contrast and dramatic. Footage from several cameras, or from different days, benefits most, because grading brings it together.
We ask for references and any brand colours that must be respected, then grade to suit the screens the film will be seen on. A subtle grade helps skin tones and logos stay accurate, while a strong look can carry a whole campaign. The quote depends on the length of the film, the number of cameras and sources, the complexity of the look and how many versions need to be graded for different delivery.
Motion graphics
Motion graphics are the animated titles, labels, charts and shapes that explain or decorate a film. They help a viewer follow a point, read a figure or recognise a brand, and they can turn plain footage into something with a clear identity. They appear in explainers, event films, social videos and corporate pieces, and they were part of the ExCeL London anniversary film.
We agree the style with you first, using your logo, colours and fonts, so the graphics look like they belong to your brand. We keep the on-screen movement simple enough to read quickly on a phone. Files can be supplied in versions for different formats. The quote reflects the number of graphics, how complex each one is, the length of the film and the number of versions you need.
