How I work
Most people who reach out are already running a studio or an agency. They have the client and the creative. What they need is someone to make the shoot happen. That is the job, and here is exactly how it runs.
Two ways to structure it
I act as your production company
This is how most of it works. My company contracts the crew, binds the insurance, holds and reconciles the budget, and takes on the production risk. One point of contact, one invoice, and your client never touches a vendor.
You focus on the creative and the client relationship. I handle production and logistics. As far as your client is concerned, you made it happen.
Full productions start at $5,000.
You stay the production company
You hold the client contract, the insurance, and the budget. I come in as your line producer, crew the shoot, book gear and locations, build the schedule, and run the day.
This is the lightest version for you, because nothing changes about how you already operate.
Day rates start at $1,250. Prep, remote shoot days, and travel days are priced separately.
Whose name is on it
Yours. White label is the default and it is what most studios want. Your client sees your brand, your deck, your invoice. I am crew, I do not market off your work, and I do not post it without asking.
Staying invisible is part of the service, not a compromise. If you would rather introduce me as your producer, that works too. You decide before we start and I follow it.
What actually happens
A call, usually twenty minutes. You give me the city, the dates, the deliverable, and a budget range.
Inside two business days you get a crew list, a schedule, and a number. Not a range, a number.
You approve it. I book crew, gear, locations, and insurance, and I send call sheets before anyone needs to ask for them.
On the day, I run it. You can be on set, on a live monitor feed, or nowhere at all. Plenty of clients pick nowhere.
After wrap, footage goes to your editor, or I deliver a cut. Your call.
What I need from you
Dates even if they are rough. The city. What the deliverable is and where it runs. A budget range. And who has final say on creative, because the fastest way to blow a shoot day is two people with equal authority.
What I do not need: a finished script, a shot list, or you on set.
What it costs
When you stay the production company, I work on day rates. On-set producing starts at $1,250 a day. Prep, remote shoot days, and travel days are priced separately. Work inside seven business days carries a rush premium, and anything inside 72 hours carries a bigger one.
When I carry the production, the floor is $5,000 and the rest gets scoped. I do not publish a package list, because a two-person founder film and a twelve-person launch shoot are not the same product and pretending otherwise helps nobody.
Deposit clears before crew gets booked. Balance on delivery.
Straight answers
Where are you based?
Outside Washington, DC. Most of my shoots are in San Francisco and New York, and the honest answer to "can you shoot this in SF or New York" is yes, routinely. Beyond those two I work anywhere in the US, and sourcing the local crew is my job rather than yours. That is the part you are actually buying.
How fast can you turn a shoot around?
A one or two day shoot can usually be crewed inside a week. I have done faster. Faster costs more, and I will tell you what it costs before you commit.
Do you work with agencies that already have a producer?
Yes. Overflow is a normal reason to call. If you are capped at a few projects a quarter and turning work away, that is the exact problem I solve.
Can you direct, or just produce?
Both. I also host on camera. Most of the time clients want the producing, so that is what I lead with.
What do you not do?
Weddings, events for their own sake, and high-volume social content at low margin. Saying so up front saves us both a call.
Ready to talk?
Bring the city, the dates, the deliverable, and a budget range. You get a crew list, a schedule, and a firm number inside two business days.