Bringing us your production
Everything a buyer needs before the first call, in one place.
Strategy
Positioning, category and audience work before anything is produced.
Creative
Concept, script, identity, design, and the sites and channels the work lives on.
Production
Casting, locations, crew, shoot, original score, post.
Media
Planning and buying, including inventory we own.
Where engagements begin
| Work | Begins at | Delivered in |
|---|---|---|
| Development study | $15,000 | 2 to 4 weeks |
| Campaign film | $250,000 | 6 to 8 weeks |
| Campaign platform | $600,000 | 8 to 12 weeks |
| Series | $300,000 per episode, four minimum | 12 to 16 weeks |
| Feature | $2,000,000 | 9 to 18 months |
| Retained | $25,000 monthly, twelve months | continuous |
We take fewer projects at higher budgets rather than many at low ones. That is not exclusivity for its own sake — it is the only way the cast is good, and the cast is what people remember.
Before you commit to a production
Most productions that go wrong were never studied. They were assumed, budgeted from a guess, and repaired in the edit.
A development study is a paid piece of work that answers whether the thing should be made at all, and what it will cost if it is. It runs two to four weeks and ends with a document and a session where we walk you through it.
| Scope | Fee | What it answers |
|---|---|---|
| Campaign or short | $15,000 | Audience, concept, budget model, locations, schedule, and whether it earns its cost. |
| Series | $35,000 | Format and bible, episode structure, cast tiers by budget, season model, distribution routes, sponsor case. |
| Feature | $50,000 | Script assessment, full budget topsheet, incentive analysis across Florida and Nevada, financing structure, comparable titles. |
The fee is credited in full against the production if you commission it with us within ninety days. If the study concludes you should not make it, we will say so in writing — that answer is worth more than the fee, and considerably more than finding out in week six.
What a budget casts
Cast is roughly a fifth of an episode budget and a sixth of a feature. Here is what that actually buys, so nobody is surprised in casting.
| Per episode | Cast budget | What that casts |
|---|---|---|
| $300,000 | $60,000 | One recognizable guest at $15–20k, three or four supporting at $8–12k |
| $750,000 | $150,000 | Two known guests at $35–50k plus a full supporting ensemble |
| $1,500,000 | $300,000 | Four cast at $75–100k each — the level where names carry the show |
| $2,000,000+ | $400,000+ | Four at $100k, or one lead well above it with a strong ensemble |
| Feature | Cast budget | What that casts |
|---|---|---|
| $2,000,000 | $300–400,000 | A lead at $150–250k with a supporting cast at scale-plus |
| $5,000,000 | $750,000–1M | Two recognizable leads and a cast with no weak links |
Union minimums sit well below these numbers. What an actor is actually paid is a negotiated quote, and a name costs what a name costs. We would rather show you the arithmetic than discover it together in week three.
Who runs it
Executive producer — James Cuffe. Burbank, California. IATSE Local 720.
Productions are staffed to the job from a standing roll call of crew, cast and composers rather than carried as overhead, which is why the money goes on the screen instead of into an office.
Where we shoot
Florida
Based in West Palm Beach. Palm Beach County runs free one-stop permitting across more than fifty municipalities, which is why a Florida shoot moves quickly. Ocean, intracoastal, agricultural, small-town main street and urban locations sit inside a two-hour radius.
Nevada
Las Vegas crews, stages and desert. Nevada offers a transferable film tax credit against qualified in-state spend, with a $500,000 minimum spend to qualify and stackable uplifts for majority-resident crew and rural filming days. On a qualifying production that is real money back, and we will tell you before you commit whether your project clears the threshold and whether funds remain for the year.
Location scouting, permitting and location management are part of what we do, not a line we subcontract and mark up.
How we work
What we shoot on
Nothing below ARRI. Bodies are ALEXA 35, ALEXA Mini LF or ALEXA 65 depending on the format, with ARRI Signature Primes, Master Primes or Ultra Primes on the front. Lighting is ARRI throughout — SkyPanel, Orbiter, M-series HMI, tungsten fresnels — with ARRI support under all of it.
This is a standard, not a preference. It fixes the colour science across everything we deliver, so a campaign film and the series it came from grade to the same place. It also means a client is never paying us to discover what a cheaper sensor does in low light.
What we take on
Character-led narrative. Documentary and docuseries. Branded film and campaign work. Music-led film. Comedy. Travel, food and place. Sport and live events.
And what we do not, at any budget: no adult content, no work that demeans a group of people, no political attack advertising, and nothing that places a minor in an unsafe or sexualised situation. We would rather say this on a website than in a meeting.
Insurance and union status
Every production carries general liability, hired and non-owned auto, workers' compensation and equipment coverage. Errors and omissions is placed on anything intended for distribution. We become a SAG-AFTRA signatory per production when a project calls for union performers, under the agreement tier that matches its budget. Certificates are available before you sign anything.
Payment
Fifty percent on signature, forty on the first day of principal photography, ten on delivery. Retainers are invoiced monthly in advance. Anything outside the agreed scope is quoted and approved in writing before it is incurred — there are no surprise overages on our invoices.
If a project is cancelled
Twenty-five percent if it stops after signature but before prep begins, fifty percent once prep has started, and the full fee inside ten business days of the shoot date. Crew and cast have already turned down other work by then, and they get paid either way.
Who owns what
You own the delivered films outright on final payment, for unlimited use in the agreed territory and term. We keep the raw footage and project files, and the right to show the work in our own portfolio. Music from our catalog is licensed for the same territory and term as the film, and extending it later is a fee, not a renegotiation. Performer usage is stated per project in the cast agreements.
What we use generative tools for, and what we do not
Concept work, look development, previz and design exploration — and we label anything generated when we show it. We do not pass generated footage off as production footage, and we will not use it to replace a performer we could have hired or a musician we could have licensed.
How long it takes
Six to eight weeks for a campaign film, eight to twelve for a platform, twelve to sixteen for a four-episode season, nine to eighteen months for a feature. Faster is possible and costs more, because speed is bought with crew size and overtime rather than wished into existence.