We shoot what has to be shot. We generate the rest.
A Los Angeles production company. Principal photography for performance, generated imagery for everything a camera would have to fake anyway.
Why hybrid
The camera is expensive. Use it on the part audiences read.
Performance, faces, and physical texture are worth shooting. Skies, crowds, set extensions, and alternate versions are not. Hybrid production draws that line deliberately instead of paying camera rates for both sides of it.
Spend lands on screen
Location builds, crowd days, and travel move into generation. What stays on the schedule is cast, coverage, and the things that have to be real.
Fewer days, sooner
A compressed shoot block followed by parallel generation and comp. Delivery windows shorten because the long pole stops being logistics.
Changes stop being reshoots
Time of day, background, product, and market-specific versions are changed in post without recalling cast or crew.
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Selected work
Reel
Swap the embed below for your reel. Use the video ID from the YouTube share link.
Artist — Track
One line on what was shot versus generated, and the turnaround.
Client name
One line on what the job needed and how it was split.
Series title
Episode count, languages delivered, turnaround.
Pipeline
Five stages, in order.
Hybrid only works if the split is decided before the camera turns over. This is the sequence every project runs.
Previs and lookdev
The shot list is divided into captured and generated before the budget is locked. Every frame is assigned a source, and the look is fixed so both sides match on delivery.
Principal photography
A short block covering performance and anything that reads as physical. Plates are shot to spec for the generated passes that will sit around them.
Generation
Environments, extensions, backgrounds, and alternate versions built against the locked look. Runs in parallel with the edit rather than after it.
Composite and cleanup
Elements are integrated, tracked, and corrected by compositors. This is the stage that decides whether the work reads as a film or as output.
Grade and delivery
A single grade across captured and generated material, then masters in the formats and aspect ratios the campaign actually runs in.
What we make
Four things we are hired for.
Music videos
Performance shot properly, worlds built around it. Concepts that would be unaffordable to stage become a two-day shoot and a generation pass.
Brand films and commercials
Concept through delivery, including cutdowns and the aspect ratios each placement needs.
Vertical drama and short-form
Episodic series built for mobile-first platforms, produced at the volume and cadence those platforms require.
Set extension and VFX on existing footage
Work you already shot, extended or repaired without returning to location.
Rights and provenance
The questions your legal team will ask.
Answer these on the site and they stop being a reason to stall the deal. Edit to match what your counsel will actually sign off on.
Who owns the finished work?
The client. Delivery includes full assignment of the final masters and the underlying elements produced for the project.
Is any performer likeness generated?
Only with written consent covering the specific use, scope, and term. Digital likeness is contracted separately from the performance agreement.
Which models are used?
Commercially licensed models only, with the specific tools disclosed per project. Nothing trained on client footage is reused across clients.
Is provenance documented?
Every delivery ships with a per-shot record of what was captured and what was generated, and content credentials where the platform supports them.
Team
Who does the work.
Name
Founder / EPOne line of credit history. Prior titles and clients only.
Name
Head of pipelineOne line of credit history.
Name
DirectorOne line of credit history.
Name
Post supervisorOne line of credit history.
Contact
Tell us what you need made.
Send the brief, the deadline, and the budget range. You will get a response with a rough approach and a number within two business days.