Video library
Films we made, and films we point at.
Work we shot ourselves, and other people’s work embedded through their own player where they allow it. We never re-host anybody’s video.
Ours
Made on the unit.
Camera
Loading a 400ft magazine
35mm, in a changing bag and in a darkroom.
Close on hands loading a 400ft mag into a Panavision Millennium XL2, changing bag, timed and unedited
Camera
Marking up and pulling focus
How a 1st AC sets marks and holds a moving subject sharp on primes.
Focus puller at the eyepiece and at the follow focus, marks laid on the floor, a rehearsal running
Camera
Filling in a camera report
What goes on it, and why post needs it.
Camera report on the cart being completed between takes, slate and lens list in shot
Prep
Before anybody turns over.
Prep
A recce, start to finish
Who goes, and what gets decided.
A recce walkthrough of an empty location with director, DoP, gaffer, 1st AD and locations
Prep
A prep day in the rental bay
Building a package from a kit list, and the paperwork it goes out on.
Camera prep bay, cases open, kit list on a clipboard, technician checking a lens on a projector
Prep
Reading a call sheet
Every box on the page, in the order the day uses them.
A call sheet on a table, annotated line by line, hands pointing to each section
Department
Lighting, electrical and grip
Lighting
Distro, safely
From the genny to the lamp, and the parts a new spark must not guess at.
Sparks running cable from a generator to a distribution box, labelling and taping runs
Lighting
Shaping a single source
One lamp, a flag, a bounce and a piece of black, and four different looks from it.
A gaffer shaping one source across an interior, flags and bounce being added one at a time
Grip
Laying and levelling track
Why a dolly move fails on the floor, and how grips stop it.
Grips laying and levelling dolly track on an uneven floor, wedges and level in shot
Department
Sound, and the floor
Sound
Placing a boom
Out of frame, out of the light, and close enough to be worth having.
Boom operator working a two-hander, frame lines visible on a monitor beside them
Sound
Rigging a radio mic
Placement, clothing rustle, and what ruins a take you cannot hear on set.
Sound assistant rigging a radio mic under costume, with the costume standby present
AD
Running the floor
How a 1st AD builds a day, and what “lock it up” is protecting.
1st AD calling first positions and a lock-up across a busy set, crew responding
Stage
Post and delivery
Post
From card to cutting room
Offload, checksum, backup.
DIT cart mid-offload, two copies running, checksum report on screen
Post
Inside an assistant editor’s day
The job that keeps a cutting room running.
Assistant editor at a workstation, bins and sync maps visible, rushes coming in
Delivery
What fails QC
Why masters get rejected.
A delivery spec beside a QC report on screen, failures highlighted
Held and unused
Recorded, not yet online.
Recorded on cleared shoot days at Pinewood, at 3 Mills and on independent sets.
Camera
Mark Nutkins
Cinematographer, on the standard a simulation runs to.
Mark Nutkins — cinematographer, Rivals and Curfew — interview
Camera
Rupert Hornstein ACO
1st AC, on watching the trainees work.
Rupert Hornstein ACO — interview
Camera
Dean Thompson
1st AC, on the grade the camera course leads to.
Dean Thompson — 1st AC, No Time to Die and Belfast — interview
Grip
Malcolm Huse
Key grip, on the department nobody documents.
Malcolm Huse — key grip, Gypsy Grips — interview
Virtual production
David Levy
Fivefold Studios, on the bridge between industry and academia.
David Levy — managing director and CTO, Fivefold Studios — interview
Trainee
Ilsa Qureshi
A trainee’s own account.
Ilsa Qureshi — interview
Camera
Annie Latham
2nd AC, on what changed after two days.
Annie Latham — 2nd AC, Hammer: Heroes, Legends and Monsters — interview
Journalism
Nada Aggour
Broadcast journalist, on the reporting half of the work.
Nada Aggour — broadcast journalist, The Telegraph — interview
Embedded once each file is cleared.
Commissioned, not yet shot
Not yet shot.
Each placeholder names the film that belongs there.
Home
The opening loop
Home page loop — camera, crane, unit, faces, silent and untitled
Festival
Pinewood Futures Festival
Pinewood Futures Festival — the festival film
The Lab
The Ken Adam Building
The Lab at work — kit prep and a test running in the Ken Adam Building
Simulation
Call to wrap
One production simulation, start to wrap
Film
Shot on Film
35mm loaded, threaded and shot
Story
Story to Screen
Story to Screen — a writers room session with Screen Sisters
Innovation
Stabilisation
The stabilisation work moving
Faith
The Faith Inclusion Production Standard
A production manager on an adjustment that cost nothing and changed who could work
Commercial
Work with us
Showreel cut for buyers
What we are filming
Organised by department, because that is how a set is organised.
Camera
Loading, marking, focus, prep and the order a camera department does things in
Building
Lighting and grip
Distribution, safe rigging, load and the physics behind both
Building
Sound
Boom technique, radio mics and why the mixer asks for a room tone
Building
Data and post
Card handling, offloading, checksums and the workflow that stops a day being lost
Building
AI and future workflows
Department-by-department, tested on a shooting day
Written
Shot on film
Celluloid handling, 35mm loading and what a lab needs from you
Building
Every film carries captions and a transcript.
Using it
No sign-up, captioned, free to reuse.
Labels on external links
Where we point at somebody else’s material we say whether it is free or paid. We earn nothing either way.
The directory
Bodies to join, places to train, funding, studios, the nations and regions, and support. Nobody has paid to be on it.
Use it in a classroom
Teachers may screen and re-use anything here without asking. Attribution is appreciated, not required.
How it grows
Filmed when a unit is running.
The library grows at the speed the work does. Where a film is not made yet, the placeholder says what belongs there.
Next
The films are free. The unit that shoots them is the thing we sell.
Everything here is free to watch, captioned and free to reuse. The same unit that films it is available to hire: a commissioned film, the package, a space, or a test day with a product on it. One door for all of it, and it says where it is sending you before you fill anything in.
