Video
production
Sea, mountain road, ancient stone and a greenhouse — in the same province, within driving distance. Elsewhere that is a budget line; here it is a map.
Antalya is a location library. Light is the only thing that will not wait.
If a film needs a shot opening onto the sea, then a mountain road, then a street of old stone, most cities turn that into three separate trips.
Here those three sit inside one province. Before it enriches the picture, it shrinks the budget and the schedule: less travel, fewer crew days, no overnight stays.
The one thing that does not bend is daylight. So the plan is built around light windows rather than around the map — the driving is short, the golden hour is not.
A shooting day is divided by light
The clock times shift with the season; the order does not. There are only so many genuinely usable windows in a day, and the schedule is built on that fact rather than on optimism.
Before sunrise
Crew sets up, camera finds its position, the first frame is tested. Time allocated to preparation, not to footage.
Morning golden hour
Soft, directional light. No glare on the water, no hard shadow on faces. The frames the film rests on are shot here.
Mid morning
Light hardens, but shaded areas and interiors still work. Detail and product frames move into this phase.
Midday
Light from directly overhead. Interiors, interviews and the lunch break go here — exteriors rarely survive it.
Afternoon
Light softens again. On the coast this is usually the windiest part of the day, so aerial work is planned around it.
Evening golden hour
The second and last strong window of the day. Miss it and there is no recovery — it moves to tomorrow.
Blue hour
Sky darkens, venue lights come on. The best phase for hotel and restaurant exteriors, and the shortest one.
Night
Only shot if a lighting setup was budgeted. Otherwise night frames are a hope rather than a plan.
TWO PRIMARY WINDOWS PER DAY · A FILM THAT NEEDS THREE SEPARATE LOCATIONS DOES NOT FIT INTO ONE DAY
What are you actually making?
These are different products with different structures. Cutting one out of another usually weakens both.
| TYPE | TYPICAL LENGTH |
SHELF LIFE |
AERIAL WORK |
VOICE |
|---|---|---|---|---|
| Corporate filmWho you are, what you make | 90 — 180 s | YEARS | CARRIES IT | OPTIONAL |
| CommercialSell one thing, by a date | 15 — 30 s | ONE SEASON | SUPPORT | OPTIONAL |
| Venue filmHotel, resort, showroom | 45 — 90 s | YEARS | CARRIES IT | RARELY |
| Social contentMonthly, scrolled past | 10 — 30 s | WEEKS | SUPPORT | RARELY |
| Process filmProduction, harvest, build | 60 — 120 s | YEARS | SUPPORT | USUALLY |
| InterviewFounder, customer, expert | 60 — 180 s | MEDIUM | NOT USED | IS THE FILM |
Lengths are the ranges we work with, not promises. The final structure is fixed at script approval, and a longer cut is always cheaper to plan than to add afterwards.
In our team, and bought in.
Production budgets usually inflate on the bought-in side, so the two are separated from the start.
IN OUR TEAM
- Script, shot list and storyboard
- Location scouting and permits
- Camera, lighting and sound crew
- Drone and aerial work
- Editing, grading and sound design
- Subtitles and multilingual versions
- Format adaptations — horizontal, vertical, square
BOUGHT IN
- Actors and extras
- Professional voice-over
- Visual effects and 3D
- Licensed music or an original score
- Large production equipment — crane, camera car
- Hair, make-up and wardrobe
- Set building
Each appears as its own line in the quote. The script decides which are genuinely needed.
Aerial work has its own rules
Drone flights need registration and, outside free zones, a flight permit. How we handle that is on the drone page.
Shooting and budget
Why do you start shooting so early in the morning?
Midday light here is hard and comes from directly above: heavy shadows on faces, glare on water. The hours after sunrise and before sunset are soft and directional. With the same venue, the same crew and the same budget, this single variable usually decides how the film looks.
How many shooting days will we need?
Location count and light windows decide it. There are two genuinely good windows in a day, so a film needing three separate locations does not fit into one. The number is fixed once the script exists and appears in the quote as days — promising "one day" is easy, asking for a pick-up day later is expensive.
Are actors and voice-over included?
No, both are bought in and shown as separate lines. Where the budget is tight we propose alternatives: your own team on camera, real customers speaking, or a subtitled cut with no voice at all. For production and food brands here, the real person is often more convincing than the actor.
Can we get the film in several formats?
Yes — horizontal, vertical and square. Each is a separate edit and vertical needs the frame rebuilt rather than cropped. Deciding the formats before shooting costs nothing; adding them afterwards means reopening the edit.
What about music licensing?
We do not use unlicensed music. Platforms detect copyrighted tracks and can block the video — which means a film that does not play on the day of your trade fair. Licensed music or an original score appears as its own line in the quote.
Do we receive the raw footage?
On request, yes. Standard delivery is the finished film and selected stills. Raw archives are large, so the delivery method — drive, cloud or both — is agreed at the start, and how long we keep the archive is written into the quote.
Tell us what the film has to do.
Write the subject and where the film will be shown. Within three working days we send back the proposed structure, the locations it needs and how many shooting days it takes.