Fourteen years on, the roster is eight directors and the studio runs development, production, post and finishing under one roof. Most of the crew on a shoot this year worked on one with us five years ago. That continuity is the thing clients notice first, and the thing we protect hardest.
We say no to more than we say yes to. When we take a job, a senior producer runs it from the first call to the final deliverable, and the director is in the grade.
The director’s film
We back a point of view. Treatments are written to be shot, not to win a pitch, and the director stays with the film until it airs.
Honest budgets
Every estimate is built line by line by the producer who will run the job, so the money ends up on screen rather than in contingency.
Finished in house
Edit, colour and sound happen down the corridor, which means fewer handovers and a look that survives all the way to delivery.
2012
Founded in London
340+
Films delivered
26
16
Everything a film needs, under one roof and one producer. Bring us a brief, a song or a script at any stage.
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Development
Treatments, scripts, casting and look books, written with the director and tested before a single day is booked.
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Production
Crews, kit, permits and locations in 26 countries, run by producers who have done the remote shoot before.
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Studio
A 4,000 square foot stage in Hackney with a cyc, a kitchen set and a lighting grid for the days that need control.
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Edit
Three offline suites and an online room, with editors who cut for feeling first and for the brief second.
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Colour
A calibrated grading theatre with a resident colourist, so the look is set with the director rather than sent away.
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Sound
Design, mix and original music, from a thirty-second spot to a feature-length documentary.
The people who run the jobs, shoot them and finish them.
Hannah Reyes
Executive producer
Runs the London slate, from the first agency call to final delivery
London
Marcus Bell
Executive producer
Runs the Los Angeles office and the company's long-form narrative work
Los Angeles
Ifeoma Adeyemi
Head of production
Crews, schedules, permits and insurance across London and Los Angeles
London
Leo Hartmann
Director of photography
Available light, small crews and few lenses, from Arizona to Anatolia
Berlin and London
Eun-ji Park
Senior colourist
Restrained, film-minded grades for commercials, music videos and documentary
London
A drive-in stage in Hackney Wick with a three-wall cyc, a standing kitchen set and blackout on demand. It is available to hire when we are not using it.
Since 2012
Made for brands, artists, labels and broadcasters
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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