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Video for PwC, Penfolds, Bunnings, FIFA, Coles, Sennheiser, Chartered Accountants Australia and New Zealand, the Australian Turf Club, Inglis, ABC Kids and the NSW Government.
Fashion
Fashion sells on look and feel, and it is the work Oscar loves most. We make campaign and lookbook film, product video and brand stories, shot with the eye for detail that makes people want it.
We have filmed for labels including Leah Da Gloria and Shona Joy, the Carla Zampatti story for Land Rover, and the fashion launch and campaign content for the Australian Turf Club. Oscar has led crews at Australian Fashion Week and Riyadh Fashion Week, so he reads how a runway moves before it starts.
Fashion does not sell on a list of features. It sells on how the fabric moves and how the light falls.
So the plan starts with look and feel, not a shot list of product angles. We work out the light, the pace and the locations first, then build the day around getting that on camera. Detail matters: the fall of a hem, a hand on a sleeve, the moment between poses.
We shoot on location and in studio, and often both in a day. Tell us the mood you are after and show us the references. That gets us there faster than any brief document.
A campaign shoot that only produces a campaign film is a shoot that did not earn its cost.
The same day can carry the main campaign cut, lookbook film, product video and vertical content for the feed. We frame for vertical on the day rather than cropping later, which matters more in fashion than anywhere else, because a crop takes the clothes out of the frame.
Stills can run alongside the video from the same set up. It is almost always cheaper than booking the models, the location and the samples twice.
A runway does not get a second take. Whatever the camera missed is gone, and no amount of editing brings it back.
So we plan the coverage before the day. Where each camera sits, what it owns, and who is responsible for the moment that matters most. Front-on for the looks, a long lens for the detail, and something loose for the room and the reaction.
Backstage and the build are worth as much as the show itself. Getting ready, the fittings, the last check before somebody walks. That is the footage that carries the campaign for months afterwards, and it costs almost nothing to capture on a day you are already paying for.
We film it without becoming part of it. A fashion audience notices a crew in the way faster than any other room we work in.
Who this is for
A first collection and a twentieth need different things from a camera.
Seasonal campaigns and runway coverage with a broadcast-grade eye.
A launch film and a social set that make a new label look serious.
On-model and product video that lifts your product pages and your feed.
Textured, movement-led content for launches and for always-on social.
One team to brief, instead of chasing five suppliers for one campaign.
Proof
Real jobs, with the full story behind each one.
Two houses, one film, and a CEO who had to sound like herself on camera.
See the job
A charity lunch with a runway through the middle of it, and one shot at every moment.
See the job
The making of a fashion campaign, cut for the feed.
See the jobSelected work
What we make
One team, end to end. Each of these has its own page if you want the detail.
How it runs
Built for a room that only happens once.
The show or the campaign, the looks that matter, the channels and the date it has to be live. Fixed price back off that.
Camera positions and coverage agreed before the day, so nothing important depends on one operator being in the right place by luck.
Backstage and build, then the show. Vertical framed as we shoot. Small crew, out of the audience's way.
Next-day cuts where a launch needs them, then the campaign film. Delivered in the sizes you publish in, files yours outright.
Where we film
We film shows, launches and campaign shoots across Sydney, from studios and showrooms to racecourses and venues.
The honest comparison
Some studios lead with editorial craft, others with runway credentials. Most brands need both, plus the social cuts, and would rather brief once.
| Zarco Creative | An editorial-only studio | A runway specialist | |
|---|---|---|---|
| Campaign and lookbook | Yes | Yes | Sometimes |
| Multi-camera runway | Yes | Rarely | Yes |
| Social verticals from the same shoot | Yes | Sometimes | Sometimes |
| E-commerce and product cuts | Yes | Rarely | No |
| One team, start to finish | Yes | Varies | Varies |
| Broadcast-grade crew | Yes | Varies | Varies |
Where it ends up
One collection day, cut for every place the range has to sell.
I’m really relaxed. Even at events I’m not at, I’m not worried at all. It’s set and forget.
They make our attendees feel comfortable on camera, and find ways to maximise the content on the day.
I had a partner, not a supplier. They were truly part of the team, across a four day, five week event.
Good to know
Yes, and often both on the same day. Tell us the looks and we will work out what each one needs and how to run the day so the light works in your favour.
Yes. With the models, samples and location already booked, adding stills is much cheaper than a second shoot day. We quote it as its own line so the cost is clear.
Yes, and we frame for vertical on the day. Cropping widescreen afterwards is how clothes end up cut off at the edge of frame, so we compose for both while we are shooting.
Ten business days is standard. Fashion often needs a teaser sooner. Tell us the drop date at the start and we will get a first cut to you ahead of the full set.
Two is the practical minimum: one front-on for the looks and one on a long lens for detail and reaction. A third covers the room and the front row. We will tell you honestly which the show actually needs rather than selling you a third camera by default.
Yes, and we would push for it. Backstage is where the campaign content comes from. It adds very little to the day and it is usually the footage you get the most use out of afterwards.
A short vertical cut the next morning is realistic, with the fuller film to follow. Tell us at briefing that you need a fast turnaround so we crew and schedule the edit around it.
Yes. Product and garment filming needs different lighting to a show, so we treat it as its own block in the day rather than something squeezed in around the runway.
We can coordinate cast, stylist, hair and makeup and the location as part of pre-production, or work alongside your team if you already have them. Tell us what you have sorted and we will fill the gaps and quote only what you actually need.
Yes. Oscar has led crews at Australian Fashion Week and Riyadh Fashion Week. We run multi-camera coverage for the runway and capture backstage alongside it, then deliver a recap and social cuts you can post while the show is still fresh.
It depends on the scope. Shoot days, cast and crew, whether you need styling and a location, how many formats you want and the edit all move the price. Tell us what you are launching and where it needs to run, and we will send a fixed quote.
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