Autobarn wanted a national TVC that put everyday drivers at the heart of the brand — moving away from product-led messaging toward something with genuine warmth and pace.

We built a fast-cutting hero spot around real-world driving moments, shot across Melbourne over three days. A tight grade and a custom sound mix gave the cut energy without losing the human story.

Self-funded, and self-initiated. After shooting promos for the Whittlesea Agricultural Society, we found a story worth chasing: a small group of volunteers who put on a country show for tens of thousands of people every year, and a 163-year-old tradition that might be about to end.

We followed them for eight months. Meetings, working bees, locals prepping their exhibits, and finally the weekend of the Whittlesea Show itself.

Documentary means being on the ground, in the thick of it. That's where the real film reveals itself. The conversations shift, the personalities come out, and you start to see the companionship holding the whole thing together. That's what makes it special.

And then the question that hangs over all of it: after more than a century and a half, is this the last one?

Currently in post-production.

Autobarn wanted a national TVC that put everyday drivers at the heart of the brand — moving away from product-led messaging toward something with genuine warmth and pace.

We built a fast-cutting hero spot around real-world driving moments, shot across Melbourne over three days. A tight grade and a custom sound mix gave the cut energy without losing the human story.

A 15-second spot for the returning Peel 'N' Win promo, for Reddy Express. With no access to location this time, the gameshow theme was brought to a studio instead.

A studio build, and another chance to work with Oliver Clarke, whose physical and comic timing is exactly what a piece like this needs. With a store location off the table, we leaned into the game-show theme: printed backdrops from existing photos, a hammed-up live-studio-audience feel, and practicals straight from 'The Price Is Right'.

Art department went above and beyond. A Shell V-Power Racing Team Supercar wheeled onto set. A bucket of fake money dropped mid-frame. Two actors sprawled on banana lounges working through piña coladas, little umbrellas and all.

‍Underneath the chaos, it was a precision build. Five backdrops, each printed at 3m x 6m, meant no room for error. Test days locked in the exact distances between talent, backdrop and camera, so we could size each one correctly and choose a frame and focal length that kept them present without dropping fully out of focus.

Four quirky 15-second spots for Haymes Paints, shot in a single day on location at their Ballarat facility. Tongue-in-cheek, taking aim at foreign-owned paint brands with the joke that any colour you love elsewhere, you can get in Haymes.

Four scripts, four locations, one day. To maximise the shoot day we had a team dress and prelight the next location while we moved through the facility.

You'd assume the trickiest part of the day would have been the open paint tins. It wasn't. The real puzzle was the eyeline on the cherry-picker scene, shot across two different locations so it had to read as one. Done right, you'd never know.

Autobarn wanted a national TVC that put everyday drivers at the heart of the brand — moving away from product-led messaging toward something with genuine warmth and pace.

We built a fast-cutting hero spot around real-world driving moments, shot across Melbourne over three days. A tight grade and a custom sound mix gave the cut energy without losing the human story.

Autobarn wanted a national TVC that put everyday drivers at the heart of the brand — moving away from product-led messaging toward something with genuine warmth and pace.

We built a fast-cutting hero spot around real-world driving moments, shot across Melbourne over three days. A tight grade and a custom sound mix gave the cut energy without losing the human story.

Autobarn wanted a national TVC that put everyday drivers at the heart of the brand — moving away from product-led messaging toward something with genuine warmth and pace.

We built a fast-cutting hero spot around real-world driving moments, shot across Melbourne over three days. A tight grade and a custom sound mix gave the cut energy without losing the human story.

Autobarn wanted a national TVC that put everyday drivers at the heart of the brand — moving away from product-led messaging toward something with genuine warmth and pace.

We built a fast-cutting hero spot around real-world driving moments, shot across Melbourne over three days. A tight grade and a custom sound mix gave the cut energy without losing the human story.

Autobarn wanted a national TVC that put everyday drivers at the heart of the brand — moving away from product-led messaging toward something with genuine warmth and pace.

We built a fast-cutting hero spot around real-world driving moments, shot across Melbourne over three days. A tight grade and a custom sound mix gave the cut energy without losing the human story.

Autobarn wanted a national TVC that put everyday drivers at the heart of the brand — moving away from product-led messaging toward something with genuine warmth and pace.

We built a fast-cutting hero spot around real-world driving moments, shot across Melbourne over three days. A tight grade and a custom sound mix gave the cut energy without losing the human story.

Autobarn wanted a national TVC that put everyday drivers at the heart of the brand — moving away from product-led messaging toward something with genuine warmth and pace.

We built a fast-cutting hero spot around real-world driving moments, shot across Melbourne over three days. A tight grade and a custom sound mix gave the cut energy without losing the human story.

Autobarn wanted a national TVC that put everyday drivers at the heart of the brand — moving away from product-led messaging toward something with genuine warmth and pace.

We built a fast-cutting hero spot around real-world driving moments, shot across Melbourne over three days. A tight grade and a custom sound mix gave the cut energy without losing the human story.

Autobarn wanted a national TVC that put everyday drivers at the heart of the brand — moving away from product-led messaging toward something with genuine warmth and pace.

We built a fast-cutting hero spot around real-world driving moments, shot across Melbourne over three days. A tight grade and a custom sound mix gave the cut energy without losing the human story.

Autobarn wanted a national TVC that put everyday drivers at the heart of the brand — moving away from product-led messaging toward something with genuine warmth and pace.

We built a fast-cutting hero spot around real-world driving moments, shot across Melbourne over three days. A tight grade and a custom sound mix gave the cut energy without losing the human story.

Autobarn wanted a national TVC that put everyday drivers at the heart of the brand — moving away from product-led messaging toward something with genuine warmth and pace.

We built a fast-cutting hero spot around real-world driving moments, shot across Melbourne over three days. A tight grade and a custom sound mix gave the cut energy without losing the human story.

A heritage pastry brand needed a campaign that felt premium and a little cheeky — celebrating craft without tipping into nostalgia cliché.

Macro food cinematography met a playful 'rules of pastry' concept. Every layer was lit and shot in-studio for texture you can almost taste, then cut to a confident, modern rhythm.

Promote a national peel-and-win promotion with high-energy retail urgency while keeping the brand's friendly, accessible tone intact.

A bright, punchy promo spot built around a clear hook and a single repeatable beat — designed so the offer reads in the first three seconds on any screen.

Reframe an Australian-made paint brand around quality and craftsmanship — a confident claim, told without arrogance.

We shot the product in its element with rich, tactile lighting and a calm, assured edit. The grade leaned into depth of colour to let the product do the talking.

A campaign for the annual Anzac Appeal that honoured the cause with restraint, dignity and emotional truth.

A quiet, observational film carried by performance and natural light. The edit gave moments room to breathe, and the sound design held the stillness rather than filling it.

Deliver full post-production on a feature documentary — edit, grade, sound and finish — while protecting the director's voice throughout.

We ran a collaborative edit suite with the filmmakers, shaping a long-form narrative from hundreds of hours of footage, then finished with a cinema-grade colour and mix.