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Every frame is a decision.
A new production house built around one decision: buy the kit first, so that nothing between your idea and the final master is somebody else’s calendar.
A new production house built around one decision: buy the kit first, so that nothing between your idea and the final master is somebody else’s calendar.
Akon Studios is new. We are not going to pretend otherwise, and we are not going to show you a portfolio of other people’s work with our name under it. What we will show you is the building.
The studio was founded by people who have spent their careers on floors, in edit bays and in grading suites — and who watched the same thing happen on project after project. The camera comes from one vendor, the lights from another, the grade from a facility across town. Every handoff adds a markup, a calendar dependency and a chance for something to go wrong that nobody owns.
So we started at the other end. Before quoting a single commission we bought the equipment: cinema bodies and glass, the lighting and grip package, an aerial unit, edit bays, a colour suite and a treated sound room. It is all ours and it is all in one place.
That is the whole proposition. You are not paying a rental markup. You are not waiting on a gear house. Your footage does not leave the building. And as a studio building its reputation on the first projects it takes, you get our full attention rather than what is left after a bigger account.
What we can doWe have no track record to point at yet. So here is exactly how we intend to work, written down where you can hold us to it.
We quote a line budget, not a range. If scope changes we tell you before we spend, not after. No mid-shoot surprises, no invoices you have to decode.
The person who takes your first call is the person who hands over the master. No account manager relay, no explaining your film twice.
Post is scheduled with the same seriousness as the shoot. Review checkpoints are fixed so revisions do not become an open-ended drift.
We would rather take fewer projects and finish each one properly. Early work sets the standard everything after it gets measured against.
Camera, lighting, grade, sound and VFX sit under one roof. Fewer vendors between an idea and a locked master means fewer things that can slip.
If your deadline, budget or ambition does not fit what we can honestly deliver, we will tell you and point you at someone who can. A bad first project helps nobody.
Every line below is our own equipment, in our own building. Nothing here is a rental partner or a "we can arrange it".
| Department | Owned inventory |
|---|---|
| Camera | ARRI Alexa 35 and Mini LF bodies, RED Komodo 6K, Sony FX9 and FX6 for documentary units, Signature Prime and Ultra Prime sets, Angenieux zooms, full matte box and filtration. |
| Lighting & grip | ARRI SkyPanel and Orbiter fixtures, Aputure 1200d and 600d, Astera tubes, HMI package to 4K, full grip truck with track, dolly, jib and stabiliser heads. |
| Aerial | Our own DGCA-compliant drone unit with trained remote pilots and a standing permissions workflow, scheduled as part of the shoot rather than booked as a separate vendor. |
| Post | DaVinci Resolve Studio grading suite with calibrated reference monitoring, Avid and Premiere edit bays, After Effects and Nuke for clean-up and compositing. |
| Sound | Treated 5.1 mix room, Pro Tools HDX, ADR booth, location kit with Sound Devices recorders and wireless packages. |
| Mobile unit | Purpose-built production van with an on-board DIT and editing workstation, dual calibrated monitors, colour grading control surface, RAID/NAS backup, UPS power and padded lockable storage for camera, lens and audio kit. |
| Delivery | DCP authoring, broadcast and OTT mastering with platform QC, plus subtitling and dubbing coordination for Indian-language delivery. |