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See the jobHow we work
Light, pace and locations are planned before the shot list.
The main cut, lookbook film, product video and vertical content from one day.
Not cropped afterwards, because a crop takes the clothes out of the frame.
Each camera has a job, so the looks, the detail and the reaction are covered without a second run.
Fittings and the last check before someone walks carry a campaign for months.
When a launch or a show needs to be live while it still matters.
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.
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 it ends up
One collection day, cut for every place the range has to sell.
I’m really relaxed. Even the events I’m not present at, I’m not worried at all.
They make our attendees feel comfortable on camera, find solutions and ways to maximise on content during the day.
I had a partner, not a supplier. They were truly part of the team.
Good to know
Yes, and often both on the same day. Tell us the looks and we’ll 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’re shooting.
The first edit lands within 10 business days of the shoot. Fashion often needs a teaser sooner. Tell us the drop date at the start and we’ll 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’ll 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’s 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’ll 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’re launching and where it needs to run, and we’ll send a fixed quote.
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