// Studio

Two coasts.
One crew.

Filmit is a small film studio that picks up brand work, not an agency with a camera. Founded in Greenville, SC. Working out of New York, NY. Every project is run by the same crew that shows up to set, edits the cut, and delivers the final.

// Founder

A note from Max.

I started Filmit because the brand video industry has a quality ceiling that doesn't make sense to me. Most production companies sell pretty footage and hope the brief covers the rest. The films I want to watch start with a script and a director's voice, not a camera. They're the ones that run before features at festivals, the ones agencies pay 10x to produce.

We're betting that brand-side teams want the same thing: real films with real ideas, made by a small crew that can move fast. We shoot on RED and ARRI because we don't compromise on the tools. We work on long-form (HAND, MADWORLD) because narrative discipline shows up in every other format. We're transparent about our process, our pricing, and where AI fits in our pipeline (post, never on set).

— Max Ridgeway, Founder

// Team

The crew.

Same five people on every project. For gaffers, ACs, sound, and BTS, we bring in additional crew from a tight roster of collaborators we've worked with for years, NYC and SC.

  • Founder · Director

    Maxwell Ridgeway

    Director, DP, and editor. Anchored Filmit since launch, from three-spot commercial days to feature documentary.

  • Director of Photography

    Andrew Hendrix

    DP, editor, and colorist across the slate: HAND, Madworld, Bartaco, Kyndryl. Founder of Circulatory Cinema, Brooklyn.

  • Producer

    Daniel Tantalean

    Producer on Angstrom, Kyndryl, and HAND. The reason twelve-hour, three-spot days actually wrap on time.

  • 1st AC · VFX

    Marcus Blair

    First AC on the interview and commercial slate, VFX on Angstrom and Madworld post.

// Process

How we work.

Seven stages. Plain English. We over-communicate during pre-pro so set runs quietly.

  1. 01

    Brief

    You send us the rough. We come back within 24 hours with a creative read, a budget range, and an honest yes/no.

  2. 02

    Pre-production

    Treatment, shot list, schedule, locations, casting, gear. We pre-light in our heads first.

  3. 03

    Production

    On-set, on-time, calm. We over-prep so the day runs at our pace, not the clock's.

  4. 04

    Editorial

    Director's cut first, then client cut. We protect the script through the edit.

  5. 05

    Color & sound

    In-house color in Resolve. Sound design and mix to spec.

  6. 06

    Master & deliver

    Hero cut + cutdowns + social formats + archive masters. You own everything.

  7. 07

    Live with it

    Most films get better with rest. We always plan a delivery checkpoint a week after final cut.

// Gear

What we own.

Owned, not rented. Means we know the cameras intimately and the day-rate doesn't bloat the budget.

  • A-camera

    RED V-Raptor

    Theatrical-grade resolution and dynamic range.

  • A-camera

    ARRI Alexa 35

    Cinema color science the world's biggest features run on.

  • Glass

    Atlas Orion

    Anamorphic prime set: 32mm, 40mm, 65mm, 80mm, 100mm.

  • High-speed

    Freefly Ember S5K

    4K at 1000fps RAW for spec-grade slow motion.

  • Aerial

    DJI Inspire 3

    Cine-quality drone, FAA Part 107 licensed PIC.

  • Mobile

    DJI Ronin 4D

    Stabilized handheld for run-and-gun coverage that still cuts.

  • Sound

    Sennheiser MKH 416

    Boom standard for documentary and dialogue.

  • Lighting

    Rosco / Aputure / ARRI

    Full-spectrum LED package + tungsten where the script asks for warmth.

// Why Anamorphic

The reason it feels like cinema.

Anamorphic glass is the single biggest reason a frame reads as "cinema" instead of "video." Spherical lenses (what most production work uses) project a clean, technically correct image. Anamorphic squeezes the image horizontally during capture, then unsqueezes in post, producing oval bokeh, horizontal lens flares, slightly distorted edges, and a depth-of-field that's unmistakably theatrical.

We shoot the Atlas Orion set, the modern anamorphic standard for indie and brand work. They're cleaner than vintage Lomos, sharper than older Cooke anamorphics, and significantly more affordable than a Master Anamorphic rental, which is what makes them sustainable for the kinds of brand budgets that actually want this look.

When a project doesn't call for it (most podcast work, most interview-driven industrial), we shoot spherical. Anamorphic is a tool, not a sticker.

// Locations

South + North.

Greenville, SC

Production base · Southeast HQ

Our primary production base. Most pre-pro and post-production happens here. Greenville sits inside a 6-hour drive of Atlanta, Charlotte, Charleston, and Asheville, which keeps regional brand work efficient.

New York City, NY

Post + client services · Northeast Studio

Where we shoot agency-led brand work and run client-facing post sessions. The NY studio is also where the indie narrative slate (HAND, METHOD, FLOPPY DISK) gets cut.

Send us the brief.

We respond within 24 hours with a creative read, a budget range, and an honest yes/no on whether we're the right shop. No spec, no decks, no "discovery call" loop.

Start a Project