Every show on this wall,
we shot.
Stage video for the companies, studios and schools that actually put on the shows. One camera, one operator, and a finished file you can hand to your cast.
Fixed price, agreed before you book a date.
The whole thing, in thirty seconds
Set up, rolling, cut, delivered — then the detail, below.
What a show night looks like
You already have a hundred things going wrong in tech week. We are not going to be one of them.
We talk before tech week
Scope and price are agreed then — not after, not on the night, not once we've seen how long the show ran. You know what you're paying before you put us in the building.
We're set before house opens
One camera, one operator, locked at the back of house. No crew in your wings, no cases in your green room, and nothing plugged into your board without asking first. If your front-of-house manager wants us somewhere else, we sort that out at 6pm, not at 7:58.
Rolling, curtain to curtain call
We don't move during the show. No repositioning between numbers, no walking the aisle for a better angle, no red light in anybody's eyeline. Your audience sees the show; the show is what gets recorded.
Cut to the programme, and delivered
The finished file follows your running order, so it's watchable start to finish rather than a single long take somebody has to scrub through. You get it back as something you can put in front of a room.
Three ways to work
Most companies start with one performance and end up booking the season. Some start with a card of footage somebody's dad shot. Both are fine starting points.
Full capture
We come to your venue and shoot the show. One camera, one operator, locked at the back of house from curtain to curtain call — which means nobody in your wings, nobody moving in the house, and no second invoice for a crew. You get the whole programme, cut to your running order.
Edit-only
Someone's dad already filmed it from row G? Send us the card. We'll stabilise what can be stabilised, clean up the sound, cut it to the programme and get it back to you as something you can actually share. It's the cheapest way to find out whether we work well together — and most companies who start here book the capture next season.
Promo & fundraising
Short cutdowns for your next season announcement, your ticket page, or a donor evening. Pulled from footage we've already shot for you, so there's no extra shoot day and no extra ask of your cast.
What it costs
A fixed number, agreed before a date goes in the diary. What moves that number is how much finishing the show needs — not how good the video is.
Always the same
- The quality of the capture. Same camera, same operator, same care, whether you're a church hall or a mainstage
- The number, agreed in writing before you book a date
- No hourly rate, so no clock running in the back of your mind
- No overtime line because your second act ran long
What scales
- How much building the finished piece gets — a clean straight cut, or a fully produced programme
- Titles, cast credits, graphics, act and scene cards
- Whether we're shooting the show or finishing footage you already have
- One performance, two nights, or a whole season
- Promo and fundraising cutdowns on top of the programme
A small company running on volunteer time gets a minimal build: shot properly, cut to the running order, delivered. A larger organisation pays more because more gets built on top of it — not because the video is better. It isn't. That part doesn't move.
The questions we get asked
In roughly the order they come up.
Do you need the house lights up?
No. We shoot your show under your show's lighting — the lighting design is part of what you're paying your LD for, and washing it out with house lights would throw that away. If a scene is genuinely too dark to hold, we'll tell you at the tech rehearsal rather than after the fact.
Where do you set up, and will the audience notice?
Back of house, locked on a tripod, out of the sightlines. We're set before the doors open and we don't move again until curtain call — no repositioning between numbers, no walking the aisle, no screen glow in anybody's eyeline.
If your venue has a booth, a balcony rail or a seat your front-of-house manager would rather we used, tell us at the walkthrough and we'll work from there.
One night or two?
One night is the standard booking and it's what most companies take. Two gives you insurance — a dropped line, a missed cue, a costume malfunction on the Friday that simply doesn't happen on the Saturday — and lets the finished programme take the better of the two. If your run is short or your cast changes between nights, it's worth the conversation.
What about music and performance rights?
That's between you and whoever licensed you the show — MTI, Concord, Broadway Licensing, or whoever holds it. Most licences treat recording as a separate permission, and some grant it for archival use but not for distribution or sale.
We're not able to give you legal cover on this and we won't pretend otherwise. What we can do is tell you what other groups have arranged and how they worded the request, so you're not starting from a blank page when you go back to your licensor. Ask early — it's slower to sort out in the week of the show.
Can cast and families buy a copy?
That's your call to make and yours to run. We don't sell to individual families — we haven't since the DVD days — so there's one transaction here: we deliver the finished programme to you, and distribution is yours.
Most studios and companies either fold a video fee into tuition or registration, or collect one separately and pass on the link. Either way the money and the relationship stay between you and your families, which is where they belong. It's also how a lot of groups cover the cost of the shoot.
What your licence allows still governs what can be shared or sold (see above), so that gets settled before anything goes out.
How long until I get it back?
Two to three weeks from the performance for a full capture, cut to your programme. If you need something faster — a clip for a season announcement, a cutdown for the closing-night reception — say so before the shoot and we'll tell you honestly whether it fits rather than agreeing and then missing it.
Tell us about your show
“What are you putting on, and when does it go up?”
Got a date in the diary?
One performance, a whole season, or a card of footage somebody already shot — tell us what you're putting on and we'll tell you what it takes.