Film that sells.
Brand stories engineered for the screen, concept to color, all in-house.
Shorter hero (~60vh). Eyebrow names the DBA (LaunchBox Studios). Same type system as home.
Built to convert.
Four video stages, every asset with a job, one path from first look to revenue.
General Awareness
Get discoveredConsideration
Earn their TrustDecision
Close the saleRetention
Keep themTrain and enable.
The reel.
Wix Pro Gallery, 3-up, 16:9 thumbnails, 14px gutters. Click → opens the Vimeo Showcase (Review Page) for that piece in a lightbox, do NOT embed raw folders.
Anchor this section "portfolio" so the home-page button can deep-link to it.
What we roll with.
Owned, not rented, so your budget goes on the screen, not a rental invoice. The same kit our crews trust on paid jobs.
Cameras & Optics
A two-tier capture stack, Sony FX9 full-frame A-cam bodies paired with Angénieux EZ-1/EZ-2 cine zooms for broadcast and commercial work, plus a three-body Panasonic EVA1 5.7K Super-35 multicam package with Sigma Art glass. ProRes RAW pipeline through Atomos Shogun 7.
- 2×Sony FX9Full-frame 6K · E-mount · A-cam tier
- 3×Panasonic AU-EVA15.7K Super-35 · EF-mount · VCT + shoulder rigs
- 2×Atomos Shogun 7ProRes RAW · 6× 1TB Samsung EVO SSD
- 1×Zacuto Z-FinderOptical loupe / EVF
- 1×Angénieux EZ-130-90mm T2 · E-mount cine zoom
- 1×Angénieux EZ-215-40mm T2 · E-mount cine zoom
- 3×Sigma 18-35mm f/1.8 ArtEF · follow-focus gear rings
- 2×Sigma 50-100mm f/1.8 ArtEF · follow-focus gear rings
- 1×Tilta NucleusWireless lens control / FIZ
- 2×Sachtler fluid-head tripodBroadcast / cine-grade
- 3×Sirui SQ75 head + VHS10 carbon legs
- 1×75mm high hat on pancake
- 1×Freefly stabilizer vest
- 1×Dana Dolly full kitAmerican Grip stands · 6" riser · Benro head · 5' rails · Kupo center support
- 1×Kessler Jib Pro + Cine Slider + CineDrive V2Studio + all-terrain wheel sets
- 3×Director monitors
- 2×Panasonic BT 21" production monitorBT.709 · color-critical reference
- 2×Rolling Impact stand
- 1×Matthews double-headerDual monitor, director + focus
- 3×SmallRig teleprompter + iPad
Lighting Inventory
A complete Aputure ecosystem balanced across daylight punch, RGB color, soft panels, tube fixtures, and specialty optics, over seventeen fixtures rigged for narrative, broadcast, and event work.
- 1×Aputure Storm 1200xHMI-class · AC or dual V-mount
- 2×Aputure 600xOne paired with F10 Fresnel
- 2×Aputure 300x
- 2×Aputure 600c
- 1×Aputure F22
- 1×Aputure F21
- 2×Aputure T4c
- 2×Aputure T2c
- 4×Aputure B7c
- 2×Aputure 300x w/ Fresnel + barn doorsFocusable hard source, full cutoff
- 2×Aputure Spotlight Mini19° lens · B-size gobos · 12 patterns
- 4×Aputure MC Pro travel kit
- 1×Look Solutions Unique 2.1 hazerTouring-grade · silent · water-based
- 6×Aputure Space Light360° soft toplight · skirted
Diffusion & Modifiers
A dedicated diffusion cart with the full softlight grammar, lanterns, domes, octas, strips, butterflies, and the gel inventory to shape any room.
- 2×Lantern 90
- 2×Light Dome 120
- 2×Light Dome Mini
- 1×Octa 150
- 2×35×95 strip
- 1×45×45 square
- 2×Fresnel
- 1×F10 Fresnel
- , Barn doors
Grip & Electric
A full taco cart and stand inventory, combos, lowboys, menace arms, and the small-parts hardware to rig anything, anywhere.
- 10×40" C-stand
- 2×20" C-standLowboy
- 10×C-stand arm + knuckle
- 2×Matthews triple combo riser
- 2×Kupo triple combo riserWheeled
- 3×Heavy-duty boom arm extension
- 3×Cardellini clamp
- 12×Sandbag
- 1×RocknRoller off-road cartAll-terrain wheels · load-in anywhere
- 1×Rosco 3-position dolly cart
Broadcast & Comms
A complete eight-channel 4K live switching and contribution stack, encoder hops at the camera, hardwired SDI to switcher, encrypted radio comms across the entire crew.
- 1×Blackmagic ATEM Television Studio Pro 4K8-channel SDI/HDMI
- 2×Magewell Pro Capture 4KLive ingest / streaming
- 1×Teradek 4K 750 LT kitWireless camera transmission
- , LiveUBonded cellular at camera ops
- 2×50' BNC + SDI cable infrastructure
- 10×Motorola DTR650 encrypted radioFHSS · earpieces standard
Production & FOH Audio
Production sound captured by a contracted A1 engineer running broadcast-tier wireless and mixing. Front-of-house handled in-house on a 32-channel digital console.
- 1×Sound Devices 833Multi-track field recorder/mixer
- 1×Sound Devices 633Compact field recorder/mixer
- 1×Behringer X32 Rack32-channel digital console
- 1×Behringer S32 stage box
Same Repeater component as the service list, on a slightly lighter panel (#111110) so it reads as a distinct section. Category code in Brick (CAM / LENS / LIT…), item in Breadley, spec line in Sweet Sans caps.
Anchor "gear" for the home-page deep-link. Optional: a small "Download full kit list (PDF)" button in Brick.
Common questions.
High end commercial production built to sell, with a full marketing agency behind every asset. Here is how we think about the work, and why the cheap quote almost always costs more.
A solo operator with a backpack can capture footage. Capturing footage and building an asset that actually sells are two different jobs. Our crews are fundamentally trained in their craft, lighting, sound, directing, color and story, so what you get back is broadcast grade and built to convert, not a folder of clips you are left to figure out on your own.
Most video shops hand you a file and disappear. We are a full scale marketing agency on the back end, so we plan every asset around where it will live and what it needs to do, then walk you through how and where to put it to work. The camera is the start of the engagement, not the end of it.
Cheap video is usually the most expensive thing you will buy, because a weak asset wastes the audience, the ad spend and the time you put behind it. We build pieces engineered for a return, with an award winning video sales funnel and retention strategy behind them, so the work earns its cost back instead of sitting unused on a drive.
We finish for broadcast TV, cinema and movie theaters, high end websites, training and onboarding platforms, conventions and trade show stages, and connected TV. Same piece, finished to the standard each channel demands, so you are never re-shooting because the quality did not hold up.
Yes. We have distribution channels and a funnel strategy, and our agency side coaches you on social and content strategy in the gaps between the high end pieces we produce. You leave with a plan for the asset, not just the asset.
We scope the goal first, then write, shoot and finish in house, and hand it off with direction on placement, sequencing and follow up. One team owns the whole arc, from the first idea to the asset working in market, so nothing falls through the cracks between vendors.