Commercial Photography + Video
for Agency Campaigns Los Angeles · San Diego · Available for Travel

Yes, confidentiality is simply part of how we work with agencies, not something we treat as an exception for bigger clients or bigger budgets. We're glad to sign an NDA as a standard step before any pre-launch project begins, and every brief, product and piece of creative direction stays fully confidential until your client is ready to announce. Our crew and any assistants on set follow that same standard, so your agency can trust the whole production team, not just the person you're talking to.

Yes, we work directly with your agency, not your client, from the very first call all the way through final delivery. If your client does need to be looped in for something like an event day or a call sheet, we're happy to follow whatever communication style your agency prefers. At the end of the day, our job is to support the relationship you've already built with your client, not to create a separate one of our own.

We do both, and it comes down to where your brief is when you reach out. If you already have a treatment, mood boards and a locked shot list, we'll shoot it exactly as directed and keep creative approval with you and your client the whole way through. If the brief is still coming together, we're happy to jump in early and help shape the concept, locations and shot list before the shoot date. Either way, the final creative call always stays yours.

Yes, and honestly, that's how most of our agency work comes together. Having one crew and one shoot day cover both photography and video means your agency walks away with a complete set of campaign assets, everything from hero photography to short-form video and channel-specific cutdowns, without coordinating two separate productions or paying for two separate crews.

Yes, and that's part of what we coordinate as one production, not something we hand off to your agency to sort out on your own. Location scouting, permits, casting, styling, hair and makeup and crew are all managed together from the start, so your team isn't left juggling five different vendors on top of running the shoot itself.

Yes, we carry insurance, and certificates of insurance are available on request for studios, venues and any permitted locations your production needs. We're happy to get that paperwork over to your team early, so it's one less thing standing between your agency and a booked production date.

We plan for it from the very beginning of pre-production, not after something has already gone wrong. Studio shoots come with backup equipment and crew built in, and any location shoot includes a weather contingency we walk through together before the shoot date. If a talent or timing issue does come up on the day, we work through it with your team in real time, so it never turns into a problem your client ends up seeing. And if the situation genuinely calls for additional work outside the original scope, that's always discussed and agreed upon with your agency before we move forward, never added onto the invoice after the fact.

Yes, we travel anywhere a production calls for it, not just within Los Angeles and San Diego. We work regularly throughout the Southern California corridor and beyond, and for longer or farther trips, that travel time and cost is already factored into the estimate from the start, so your agency never runs into a surprise expense once the job is underway. We can scale the crew, schedule and logistics for a multi-day or multi-location campaign just as easily as we would for a single studio day.

Quickly, because we know your agency is usually racing its own deadline to get back to a client. Send over the brief or RFP and we'll typically have a scoped estimate back to you within a couple of business days, sometimes sooner depending on how big the production is. We'd rather move fast on the paperwork side of things so your team can focus on the parts of the pitch that actually need your attention.

We invoice your agency directly, never the end client, and production doesn't start until we have a signed estimate or a PO in hand. Most projects run on a simple structure: a 50% deposit to lock in the production date, with the remaining balance due at delivery. Licensing fees, such as talent usage or music licensing, are always considered on a project-by-project basis and included in the estimate upfront, so there's nothing hidden in the final invoice. From there, net terms and exactly how our rate shows up in your client proposal are things we're happy to work out together, so it fits however your agency prefers to bill.

Revision rounds get built into the estimate right from the start, so nobody's guessing halfway through the project what's included and what isn't. If your client comes back and asks for something beyond what was originally scoped, that additional work is always discussed and agreed upon with your agency first, including what it means for both timeline and cost, before we start on any of it.

It depends on what your specific project needs, and yes, RAW files can absolutely be part of the delivery when the project is scoped that way. Some agencies want RAW or layered files handed over so their own post-production team can take it from there, while others just need the final retouched masters and ready-to-use channel versions. Either way, we'll settle on exactly what's included as part of the estimate, well before the shoot, so there's nothing left to sort out once delivery day rolls around.

We're selective about this, since it can genuinely matter for brand and intellectual property decisions down the line. AI tools are never applied to anything client-facing without your agency's sign-off first, and if AI does come up anywhere in our workflow, we check with you before moving forward. If your agency already has its own AI policy in place, we're happy to simply work inside of it.