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The full index.
Eighteen disciplines, four departments, one production line — and tie-ups with OTT platforms at the end of it. Take all of it, or take the part you are missing.
Eighteen disciplines, four departments, one production line — and tie-ups with OTT platforms at the end of it. Take all of it, or take the part you are missing.
Compelling stories brought to life.
Multi-episode stories, built for streaming.
Generative worlds, cinematic craft.
TVCs and digital spots that drive results.
Small stories. Big impact.
Storytelling that hits different.
Real stories. Real impact.
Your brand, told cinematically.
Build trust. Share your vision.
Every moment. Perfectly captured.
From a sentence to a shooting script.
New perspectives. No limits.
Precision editing. Powerful cuts.
Colour that evokes emotion.
Invisible fixes to full builds.
Sound that enhances every frame.
Every language your audience speaks.
Platform tie-ups. Made to stream.
We do not just make the series and hope it finds a home. Our tie-ups with OTT platforms mean web series and films are developed with a platform in view, produced to its delivery spec from day one, and handed over ready to stream.
Pitch us your seriesFormat, episode count, runtime and audience are shaped around what streaming platforms are commissioning — so the pitch lands as a show, not just a script.
Through our OTT tie-ups we put suitable projects in front of platform content teams for commissioning, co-production or licensing, and tell you early whether it fits a slate.
Camera, codecs, colour space, audio stems and compliance deliverables are locked to the platform’s technical spec before the shoot, not discovered at QC.
Masters, QC reports, subtitles, dubs, trailers and key art delivered to the platform, with the campaign cutdowns ready for launch week.
Every service above sits inside one of these four. They run as one line, not as four handoffs.
Most films are fixed or broken here, before anyone touches a camera. We read what you have — a script, a deck, a brief, sometimes a sentence — and come back with a treatment, a shape and a number. If the idea does not work we say so at this stage, when saying so is cheap.
Our own camera and lighting package, our own grip truck, and a first AD whose job is to protect the day. Casting, recce, permits and unit logistics are handled by the production team rather than farmed out — so the schedule has no dependency on a vendor we do not control.
Edit, grade, sound and VFX under the same roof as the shoot, which means the DOP can walk into the grading suite and the director can sit in on the mix. Review happens at fixed checkpoints so revisions stay finite instead of drifting for a month.
A film is not finished until it plays correctly wherever it needs to play. We master to every spec you require, run the QC, handle subtitling and dubbing, and cut the campaign versions so you are not commissioning a second edit for social.