A Bombay film outfit working in documentary, music video, and the long-game first feature — shot on the long lens, cut on the floor, printed in cream.
No shot is fixed in post that could be fixed on set.
A standing rule of the floor · ReelHouseA scrolling row of releases — features, shorts, brand films, side projects. Each one printed, stamped, kept on the wall.
A three-year documentary on the women who run the morning fish auction at Sassoon Dock. Premiered at MAMI 2024, MUBI India for the Spring 2025 strand.
View the cardA short on the post-office counter in Central Bombay where the same women have run the small-parcel desk for a working lifetime.
View the cardThree-part anthology spot for the Tata Tea Premium Strong rebrand. Shot across Munnar, Wayanad, and the back bay. Best Long-Form, Goafest 2022.
View the cardSingle Steadicam take through Marine Drive at sunset on a stripped Alexa Mini. Two takes, one used. 6.4 million views by year-end.
View the cardA photographic side-project that grew alongside the documentary — 144 pages of black-and-white stills. Edition of 600 with the studio bindery.
View the cardThree monologues from second-hand jeans owners across Bombay, Bangalore, Manipur. Shot over a long weekend on a Sony FX6.
View the cardStudios, residencies, the long way around. Earliest at the bottom — payroll printed every Friday, no exceptions.
Founded a six-person Bombay studio for documentary and music video work. Eighteen films delivered to broadcast, two awards at MAMI, one shelved feature in the colour grade. Standing rule of the floor: no shot is fixed in post that could be fixed on set.
In-house DOP at a long-form ad and brand-film outfit. Shot for Levi's India, Tata Tea, Titan Raga, and a three-part documentary on the Goa carnival. Standing camera operator on the Plan B Phantom.
Two years on the floor as 1AC across four Bombay-Goa indie features and a music documentary. Built the camera-team handbook the studio still uses.
Six months loading mags on a small documentary crew. Learned to clean a gate at three in the morning, set a slate without looking, and how a well-kept camera log can save a day on set.
We <em>write</em> on the floor, <em>shoot</em> on the long lens, <em>cut</em> at the bench, and <em>finish</em> in cream. The tools below, in no particular order — and a kettle, always on.