Privacy

Last updated 20 October 2026

This page is a starting point for a real privacy notice. Replace it with your own, reviewed by counsel in the places you operate.

Who we are

Offscreen Films Ltd (“Offscreen”, “we”) runs this website and is the controller of the personal information described here. You can reach us about privacy at privacy@example.com.

What we collect

Briefs. When you send a brief, we keep your name, email, company, and what you tell us about the project, including any link you share.

Messages. When you use the contact form or write to one of our inboxes, we keep your message and the details you include with it.

Usage. Our hosting provider records standard server logs, such as IP addresses and the pages requested, to keep the site secure and working.

Video players

Some films on this website may play through YouTube or Vimeo. Those players load only when you press play, and from then on the platform’s own privacy policy applies to that playback.

How we use it

We use briefs and messages to reply to you and to prepare estimates. We do not sell personal information, and we do not use it for advertising.

How long we keep it

We keep briefs for up to two years, so we can pick up a conversation later, unless you ask us to delete yours sooner. Messages are kept for as long as the conversation needs.

Your rights

You can ask to see, correct or delete the personal information we hold about you, and you can object to how we use it. Write to privacy@example.com and we will reply within a month.

Cookies

This website does not set advertising or analytics cookies. If that changes, this page will say so and we will ask for your consent first.

Changes

We will update this page when our practices change and show the date of the latest version at the top.

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Notes from a river shoot

notes-from-a-river-shoot

Behind the scenes

Samir Haddad

What a week on a mountain riverbank for Dust and Daylight taught us about tents, weather, small crews and carrying less than you think you need.

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The clapperboard is not a prop

the-clapperboard-is-not-a-prop

Craft

Theo Lindqvist

Why slates, scene and take discipline and proper sound sync still matter on a digital set, and how we run them on every Offscreen shoot.

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Lighting a room with one lamp

lighting-a-room-with-one-lamp

Interviews

Yuna Sato

Yuna Sato and cinematographer Ama Boateng on lighting interiors with practicals for The Long Field and Signal, and why they rarely bring a light the audience cannot see.

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The Long Field premieres at Northlight Film Festival

the-long-field-premieres-at-northlight

News

Hannah Reyes

Yuna Sato's short about a woman walking out across a winter snowfield has its world premiere this week as an Official Selection at Northlight Film Festival.

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Grading Night Drive

grading-night-drive

Craft

Eun-ji Park

Colourist Eun-ji Park on building the look of Night Drive for Halden: two colours, one face, deep blacks and four nights of Manchester rain made to match.

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Annelise Vogt joins the roster

annelise-vogt-joins-the-roster

News

Marcus Bell

The Berlin-based documentary director behind Low Water joins Offscreen for long-form, branded and commercial work, represented by both our London and Los Angeles offices.

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Casting real people

casting-real-people

Craft

Mara Okonkwo

Mara Okonkwo on street casting non-actors for Twelve Rounds, from gym noticeboards and casting tapes to contracts, consent and the first day on set.

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What a treatment is for

what-a-treatment-is-for

Craft

Hannah Reyes

A director's treatment is a promise about a film, not a description of it. Hannah Reyes on what a good one does, what it should never try to do, and how we read them.

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A week in the edit of Feedback

a-week-in-the-edit

Behind the scenes

Daniel Okafor

Editor Daniel Okafor on one week of cutting Feedback, Kofi Mensah-Hart's tour film with The Lowlands, from 300 hours of rushes to a seventy-two minute film.

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