2026
What making films in New York City has taught us
A year in. What we got right, what we got wrong, and what the city itself keeps teaching us about how to make work that matters.
Read →On making films in New York City. Production, process, and the occasional opinion. Updated whenever something is worth saying.
A year in. What we got right, what we got wrong, and what the city itself keeps teaching us about how to make work that matters.
Read →Those three words are on our site. They're not marketing copy. Here's where they came from and what they actually mean for how we make films.
Read →First-time directors show up with gear lists built from YouTube rabbit holes. Here's what a real shoot in this city requires — and what you can leave behind.
Read →Grants, fiscal sponsorship, crowdfunding, and the options nobody talks about. A practical breakdown of how NYC indie shorts actually get financed.
Read →The city has a double life on camera. These are the spots that read as somewhere else entirely — and why that's more useful than it sounds.
Read →Everyone said the short film was dead. Here's why that's wrong, what the format actually does that nothing else can, and why we keep making them.
Read →Not all production companies are the same, and in New York City the differences matter more than anywhere else. What to actually evaluate before you sign anything.
Read →The Mayor's Office, the NYPD, private locations, and the unwritten rules that don't appear in any official guide. Real permit knowledge from real shoots.
Read →From one-day guerrilla shoots to multi-location productions with choreography and permits. How music video production in New York City actually works.
Read →Not a tourist list. A working breakdown of what each borough and neighborhood actually offers a film crew — light, texture, logistics, and the things that surprise you.
Read →Real numbers from real productions. Equipment, crew, locations, permits, post — the full breakdown with the wide variance explained.
Read →Every production company says they work everywhere. We built the opposite rule into the studio from day one — and it's the best creative decision we've made.
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