The studio
A production studio in Bengaluru we own outright, where the people who build the argument are the people who shoot it and cut it.
About six hundred square feet in HSR Layout, treated for sound, lit for two people talking or one person arguing to camera, with a second set for interviews. The room, the crew and the gear are ours, so a filming day runs on the argument's timetable rather than a rental house's.
What it is for
Mostly argument: a leader making a case to camera for ten to twenty-five minutes. Also interviews and podcasts, with up to four people at the table, and short documentaries from investigations and arguments.
Creative assets: graphics, title cards, charts that carry a sourced figure, and stills. No stock imagery.
Atomisation: a twenty-minute essay becomes eight pieces of forty to ninety seconds, each making one point and pointing back to the whole, cut by the people who built the argument.
One team, start to finish
Research and sourcing through Trace, the argument, the script, the shoot, the edit, the graphics, the cutting down, the publishing order, and the read on what it did afterwards. One team from the research to the last cut, with no vendor in between.
Fewer pieces, each made on purpose
The research happens before the script, and the argument is settled before anyone books a camera. A piece does not ship until it is one we would publish under our own name. You will get fewer pieces from us than from a content agency spending the same budget.
Who does it
Two of us carry every engagement, which is why we take a limited number at a time. Around us is a bench of senior freelancers in camera, edit, motion, sound and colour. They are named to you before the job starts.
What the room makes
Talking head and interview, podcast, short documentary, faceless shortform and longform, motion graphics and charting, stills and creative assets, subtitling, and delivery in English, Hindi and Kannada. The argument decides the format.
Hiring the room
Available by the day, with the crew, to people producing their own material: three cameras, a four-microphone table, a teleprompter, and a producer in the room. We do not rent the room without the crew.
Occasions and events
Weddings, anniversaries, launches, conferences and the evening a company marks something, filmed by the same crew, in the room or on location. Here you direct and we answer for the craft and the delivery: the shots you ask for, cut to the length you need, on the day agreed. Priced on a rate card, and unbranded unless you want our name on it.
Faceless channels, end to end
Research, scripting, voice, edit and publishing cadence for an owned channel with no presenter, shortform and longform, bought as an agreed number of videos a month. The client owns the channel and everything published on it. The studio owns its own process, formats and templates, and keeps the right to show the work.
What we will not promise
Nobody can guarantee that a piece travels: reach is decided by an audience and a platform. What we do commit to: if we think a piece will not land, we say so before it is made, and when something we made does not work, you get the reason in writing.
How it is priced
By the day for a shoot, crew included, with editing priced by the finished minute. Faceless work is priced per video or on a monthly volume. Studio days are included in the executive voice retainer up to a limit, and budgeted into films.
The full list
Everything the studio makes.
Studio production
- Talking-head shootsA leader making a case to camera for ten to twenty-five minutes, lit and miked for argument rather than spectacle.
- Interview seriesRecurring conversations on our second set, shot on more than one camera and cut to a consistent format.
- Podcast productionUp to four people at the table with a microphone each, recorded on video and cut for audio and clips.
- Short documentariesFilms made from investigations and arguments, researched, shot and edited by one team.
- Creative assets and stillsGraphics, title cards, charts that carry a sourced figure, and stills. No stock imagery.
- Multi-camera setupsThree cameras on one conversation, so the edit can follow the argument rather than one fixed angle.
- Location shootsWhen the argument needs a place, the same crew and kit go to it.
Faceless channels, end to end
- Channel setup and positioningWhat the channel argues, who it is for and how it looks, settled before the first video.
- Research and scriptingEvery video starts from sources, and the script is settled before anything is made.
- VoiceA narrator chosen for the channel and kept consistent from one video to the next.
- Edit and motion graphicsThe cut, graphics, charts and sound designed to carry the argument rather than decorate it.
- Publishing cadenceAn agreed number of videos a month, shortform and longform, on a schedule the channel can keep.
- Analytics and iteration loopWhat each video did, read after it goes out and fed into the next one.
Post and atomisation
- Shorts and reels cuttingA twenty-minute essay becomes around eight pieces of forty to ninety seconds, each making one point.
- Subtitling and captionsAccurate captions, burned in or supplied as files, because most people watch without sound.
- Thumbnail designThumbnails that show what the piece argues, designed together with the title.
- Repurposing across platformsEach piece reshaped for the platform it is going to, in length, frame and opening.
- Archive and asset managementFootage, graphics and transcripts organised and kept, so earlier material can be found and used again.
Machine-assisted, and languages
- Generated b-rollIllustrative footage made for a piece where filming is impossible or unnecessary, and labelled as made.
- Archival substitutionWhere archive footage is missing or unaffordable, a reconstruction that is marked as one and never passed off as the original.
- Synthetic voice where it is appropriate and disclosedA generated voice only where the speaker has agreed to it and the audience is told.
- LocalisationScripts adapted rather than translated, so the argument lands in the audience's own idiom.
- Delivery in English, Hindi and KannadaFinished pieces, subtitles and captions in all three languages from the same production.
Where to start
A filming day. Send the date, what is being made, and who will be in the room.
A channel. Send what it is about and how often it should publish.
We reply within two working days, and if the answer is no we say so in writing.