Reality is the product.

Three days in the asparagus fields with a full crew, and a website as well as the films. Field to Fork follows a single spear from the field to the grading tables; the four shorts cut from the same shoot are the harvest itself.

GRIT built a new kind of hockey glove — a coil-tech cuff instead of the flaring one — and needed a launch to make it land. One day in Gravenhurst with Zac Bell, and a film cut to move like the product.

A national loss-reduction body needed a flood recorded from inside it, not from a helicopter. The studio hiked into a cut-off part of Bracebridge and filmed the people who were waiting to be reached.

Two days, a scout day before them, and one film answering the only question a homeowner really asks: what actually happens after I call?

One shoot day, five films, for a London, Ontario plant making seals and buckles for the global strapping trade.

Eight films and twelve short clips from one session at a table — and the job the Business Round Table was built on.

A classroom of children becomes teenagers, then seniors — and one student is missing from each. An injury-prevention film built on the county's own numbers, shot in one room in one day.

An internet company in an industry nobody trusts asks for twelve videos — and years later their website is still running the studio's photographs.

A century-old municipal magazine decides to start telling its own story on camera. One long documentary, a set of interview films, and an animated brand — all built out of the client's own people and their own back pages.

A retailer let a comedy crew investigate its own mascot — and then the owners played themselves in all seven episodes.

A Major League Soccer club hires a small Southwestern Ontario studio to film one of its young goalkeepers on her own pitch — and then calls back. A one-minute film for a national campaign, built out of forty minutes of rushes.

An unknown young singer sent the studio her song. Two shoot days later it was a music video — a beach at sunrise, and a candle-lit interior. The clearest proof we do narrative work, not only corporate.

A house in Sarnia burned in December 2018. A builder bought it and rebuilt it past the code, and let us film the argument for four episodes.