// 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 — the ones that run before features at festivals, the ones agencies pay 10x to produce — start with a script and a director's voice, not a camera.

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. We bring in additional crew — gaffers, ACs, sound, BTS — 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 — 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