Production
Television, video and photography production.
We shoot and post-produce television programmes, corporate films, commercials, podcasts, events and content for digital channels. Depending on the project we provide the crew, cameras, sound, lighting, multi-camera direction, editing, colour grading, graphics and delivery formats.
Seven television episodes - Miss Slovenije 2025/26. Around two months of production - Champ Sprememba.
What this means for you
- one team from preparation to the final formats
- one visual standard across all content
- material prepared for broadcast, web and social
How a film gets made, from brief to delivery
The shoot is the most visible part of a production and the smallest part of the work. Before it come the concept, the preparation and the agreement on what has to exist at the end; after it come media management, editing, sound and colour, and versions for each channel.
Brief and concept
What the film has to achieve, who it is for, where it will run and how many versions it needs.
Pre-production
Script or running order, locations, dates, contributors, permissions, shot list, crew and equipment.
Shooting
Camera, sound, lighting and direction on location, with material backed up the same day.
Media management
Ingest, a second copy, organisation by day and label so the edit does not hunt for material.
Edit
A first cut for review, then revisions within an agreed number of rounds.
Post
Colour, sound edit, music, graphics and subtitles.
Versions
Formats and lengths per channel, not one file for everything.
Delivery and archive
Final exports, source material as agreed, and a project archive.
What determines the scope
The cost and duration of a production do not depend on the length of the final film but on the number of shooting days, locations, contributors, the complexity of sound and lighting, and how many versions must come out of the same material.
- the number of shooting days and locations
- single-camera or multi-camera
- sound: microphones, multiple speakers, noisy environments
- lighting: available, supplemented or built
- contributors: staff, actors, guests
- graphics, animation and subtitles
- the number of final versions and channels
- the deadline: normal or compressed
What usually goes wrong in production
| Problem | How we prevent it |
|---|---|
| content is not ready by the shooting day | the shot list and scripts are approved before the shoot |
| the location is not what was promised | a site visit, or photographs and a floor plan in advance |
| the sound is unusable while the picture is fine | sound is recorded separately and monitored during the shoot |
| revisions never end | an agreed number of rounds and a single approver |
| material is lost | a second copy the same day, kept separately |
| the film does not work on the channel it was made for | formats and lengths are set before the shoot, not after |
What we need from the client
- what the film is for and where it will run
- who decides and who approves the final version
- access to locations and permission to film
- availability of contributors and their dates
- existing assets: logos, colours, fonts, music
- the deadline and the date it must be published by
How we can be involved
Full production
From concept to delivery, with one person accountable for the whole project.
Shooting only
We cover the shooting days; your team or another supplier edits.
Post only
We take on material shot by others, after reviewing what it allows.
Ongoing production
An agreed volume per month or quarter, with a consistent crew and rhythm.
How the production runs
Brief
What has to be produced, for which channel, by when and at what scale.
Pre-production
Script or shooting plan, locations, dates, crew and equipment.
Production
Shooting days with a crew covering camera, sound, lighting and direction.
Post-production
Editing, audio, colour and graphics through to an approved final cut.
Delivery formats
Versions for broadcast, web and social, ready to publish.
Related work
Sub-pages
FAQ
How many shooting days do we need?
It depends on the number of locations, contributors and versions required. After reviewing the brief you get an estimate you can check, not a round number.
Can we use material we already have?
Often yes. We first review what the material allows - sound, cutaways and format - and tell you what can be achieved from it before we start.
Who handles music and rights?
We propose music with rights cleared for the channels and period you plan. Rights are settled before publication.
How many rounds of revisions are included?
The number of rounds and a single approver are agreed at the start. This is the most common reason projects drag on.
Related solutions
Sounds like your project?
Send us the project description, your existing system, the tender documents or the event date.