Reelhouse
A film crew in silhouette around a camera crane, facing a small set lit by one tungsten lamp in a dark stage
ProdReelhouse
Roll · Sc · TkA014 · 01 · 03
Dir · DPE. Solomon · M. Toussaint

Every frameis a decision.

Commercials and brand films from Atlanta. Development, production and post under one roof, and one call sheet.

Start a brief
On set todayStage B · Day 2 of 3Fieldhouse Athletics

SC 02 · Selected work · 2023–2026

Six films, racked into focus one at a time.

Insurance, cars, dance, food, sport and music. All shot by the same core crew and finished in the same dark room on Stage B.

06 films · TRT 00:09:20:00

  1. Night film still: a woman in a long coat stands in the glare of a car's headlights at the edge of a dark pine forest

    01 / 06Hartwell MutualBrand film · 2025

    Headlights

    A breakdown at 2 a.m., told from the hazard lights out. An insurance film with no policy numbers in it, and the most-shared thing Hartwell has ever made.

    TRT
    2:30 + 60 + 30
    Director
    Ezra Solomon
    Shot
    3 nights, Dawsonville GA
  2. A dancer in a dark dress turns on a hazy stage under a single warm amber spotlight

    02 / 06Westview Dance TheatreSeason campaign · 2025

    Eight Counts

    One dancer, one haze machine, one 5K Fresnel and a single unbroken take. The season sold out four days earlier than last year.

    TRT
    1:45 + cutdowns
    Director
    Ezra Solomon
    Shot
    1 day, Stage B
  3. A car idles in a fogged-in lot at night, red tail light on one side and blue streetlight on the other

    03 / 06Oakline MotorsBroadcast · 2024

    Low Beam

    A crossover, a fogged-in lot and a lighting plan built from the car's own lamps. Sixty seconds, no voiceover, one line of type.

    TRT
    0:60 · 30 · 15 · 6
    Director
    Ezra Solomon
    Shot
    2 nights, Blue Ridge
  4. A copper heat lamp glows over a plated dish at a restaurant pass, stacked plates beside it

    04 / 06Cinder & SaltLaunch film · 2024

    The Pass

    Ninety minutes of a Friday service at the pass, cut to the rhythm of the ticket printer. Bookings for the new room filled six weeks out.

    TRT
    1:15 + 4 socials
    Director
    Mireille Toussaint
    Shot
    1 service, Inman Park
  5. An empty outdoor basketball court at night, floodlights glowing green through thick fog

    05 / 06Fieldhouse AthleticsSocial series · 2026

    Night League

    Six courts, six cities, all after dark. A social series framed for vertical and widescreen at once, so nothing important ever gets cropped.

    TRT
    6 × 0:45
    Director
    Ezra Solomon
    Shot
    6 nights, 6 cities
  6. Close portrait of a woman with closed eyes, late sun falling through window blinds across her face

    06 / 06Sweetgum RecordsArtist film · 2023

    Slow Burn

    A singer, a borrowed apartment and late sun through cheap blinds. Lit with one bulb and a great deal of patience.

    TRT
    2:05
    Director
    Mireille Toussaint
    Shot
    1 afternoon, Old Fourth Ward
SC 03 · Also in the can

More from the last three years.

  1. 2026Fizz TheoryBrightwater Seltzer30s spot + 6s bumpers0:30
  2. 2026Open LateRiverbend Credit UnionBrand film1:30
  3. 2025Window SeatTallulah AirBroadcast, 3 markets0:60
  4. 2025Night NursesPinecrest HealthDocumentary series4×3:00
  5. 2024First CrackClayborne CoffeeProduct film, macro0:45
  6. 2024Hill RepeatsKingfisher BikesSocial series8×0:15
  7. 2023Fender BenderHartwell MutualBroadcast0:30
  8. 2023Cold StartOakline MotorsLaunch film1:20
Full reel, case studies and references on requestAsk for the long reel →
SC 04 · Services
Stage B before a take: a camera on sticks faces a set lit by one hard tungsten spot, with blue light on a white flag to the side
Zoom · 18–8518MM
Stage B, West Midtown · 6,400 sq ft · pre-light for Slow Burn

Three departments. One call sheet.

01 · 18MM

Development Before anyone says "rolling".

We turn a brief into a film worth making: creative strategy, scripts, a director's treatment with real references, and a schedule you can budget against on day one.

  • Treatments
  • Scripts
  • Storyboards and shot lists
  • Casting direction
  • Budget and schedule

Typical runway · 1–3 weeks

02 · 40MM

Production Crew, kit, permits and a plan for the weather.

We run the set. Producers, DPs, gaffers, grips, art and HMU from the deepest crew bench in the Southeast, plus our own pre-lit stage ten minutes from the airport road.

  • Line production
  • Locations and permits
  • Casting
  • Camera, lighting and grip
  • Stage B with cyc

Typical shoot · 1–5 days

03 · 85MM

Post Where the film actually gets made.

Offline edit, color, sound design and mix, clean-up and every cutdown your media plan asks for, finished in-house on one calibrated reference monitor.

  • Edit
  • Color, HDR and SDR
  • Sound design and mix
  • Titles and VFX
  • Versioning and captions

Typical post · 2–4 weeks

Most of our films land between $45k and $450k. We'll tell you on the first call what your budget buys, and what it doesn't.

SC 05 · How a shoot works

Six weeks, on one page.

Every project gets a call sheet before it gets a camera. This is the one we'd write for a typical sixty-second spot, from first call to final delivery.

ProductionYour film
ProducerKendra Ashby
Crew call06:00
Sunrise · Sunset07:41 · 18:39
Weather64°F, clear
WK 01

Brief and first call

We read your brief, ask the awkward questions and come back within 48 hours with a point of view and a ballpark.

Wrapped
WK 01–02

Treatment

The director's treatment: tone, references, casting direction and a frame-by-frame look book you can take to your boss.

Wrapped
WK 02–03

Pre-production

Casting, locations, wardrobe, permits and insurance, then the PPM, where every decision gets signed off before anyone spends a dollar on set.

Wrapped
WK 04

The shoot

One to three days. You get a chair at video village, your own monitor and a producer whose only job is you.

Wrapped
WK 04–05

Edit

An assembly in three days, then two rounds of notes to a locked cut. We show you cuts, not timelines.

Wrapped
WK 06

Finish and deliver

Grade, mix and titles, then masters plus 30, 15 and 6 second cutdowns in every ratio your plan needs, with captions and an archive.

Wrapped

And on the day itself · a typical shoot day

  1. 06:00Crew call, breakfast on set
  2. 07:15First setup, first slate
  3. 09:30Client check-in at the monitor
  4. 12:30Lunch. Hot, sit-down, always
  5. 14:00Second unit on product shots
  6. 17:50Golden hour setup
  7. 18:40The martini shot
  8. 19:00Wrap. Selects in your inbox by 22:00
SC 06 · The crew
Crew members crouch around a camera on a slider in a dark studio, shafts of light cutting through haze
Day 2 of Night League, checking a slider move before the take

Six names in the credits. The same six on set.

Directed by
Ezra SolomonCo-founder. Twenty years of commercials and still shoots his own reference frames on a phone the night before.
Executive producer
Kendra AshbyCo-founder. Has never missed a delivery date, and keeps the spreadsheet to prove it.
Director of photography
Mireille ToussaintLights with as little as she can get away with. Tungsten, haze and patience.
Head of production
Cyrus WinslowPermits, call sheets and weather calls. The reason the trucks are where they should be at 05:30.
Editor
Imani PruittCuts to sound first. Keeps a library of four thousand room tones, sorted by city.
Colorist
Gus AlbrightFinishes every film on the same reference monitor, in the darkest room on Stage B.
With

A bench of 140 Atlanta crew we book again and again: gaffers, grips, ACs, art department, HMU and the best PAs in the state.

SC 07 · Who we've rolled for · films made

Clients

Hartwell Mutual07● Oakline Motors05● Fieldhouse Athletics09● Sweetgum Records04● Cinder & Salt03● Westview Dance Theatre06● Brightwater Seltzer02● Riverbend Credit Union03● Tallulah Air04● Pinecrest Health05● Clayborne Coffee02● Kingfisher Bikes08

146Films delivered
11Years rolling, since 2015
38Brands, 31 came back
0Missed delivery dates
SC 08 · Start a brief

Roll
camera.

What are we making?