READY BEFORE THEY WALK IN
Carlos Sainz and Alex Albon, four hours with each driver, twenty pieces of content to capture. So we're built, lit and rolling before the door opens.
Carlos Sainz and Alex Albon, four hours with each driver, twenty pieces of content to capture. So we're built, lit and rolling before the door opens.
A Formula One driver's diary doesn't bend for a film crew. So ours doesn't ask it to.
Gulf and Williams Racing brought us in to make social-first content with Carlos Sainz and Alex Albon. The catch is the clock: you get each driver for a tight window, the schedule is fixed, and there's no coming back tomorrow for the shot you missed. Every set-up has to be lit, framed and tested before they arrive, so their time goes on the content, not on us finding our feet.
We shoot a full run of vertical pieces to a running order, moving from one look to the next without resetting the room. Clean takes, a polished finish, no scramble. It's the reason we've been asked back for every shoot in the series.
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Four cuts from the series · shot 9:16 for feed and story · tap to play
on Instagram, across the series.
likes, comments, shares and saves on Instagram.
finished vertical pieces delivered across the series.
The set is built, balanced and framed before the driver's called. Lighting locked, sound checked, first piece lined up, so the moment they sit down, we're already shooting.
Get it wrong and you've spent a driver's only window watching a crew catch up. Get it right and a tight schedule turns into a full set of finished content, cut and ready.
The series has moved through photo studios, the prestige of a race garage, and hotel function rooms in Monaco tight enough to plan the crew's footprint before we arrive. Every room gets the same setup (same cameras, same lighting, same crew), so a piece shot in a hotel suite cuts together with one shot on a studio floor.
Different walls, same standard. That's the reason the invitation keeps coming back.
