One unforgettable night, captured like the occasion it is.
The event happens once. The film is what everyone sees afterward — the clip forwarded to a client, the recap opening next year's pitch, the footage still working for you long after the room has been struck.
Apex embeds a discreet production team inside the event we're already running. Same crew, same call sheet, same building — which is why the camera is in the right place before the moment happens, not chasing it afterward.
Three depths of coverage.
The difference between levels is how many perspectives we can cut between, and how far the finished film travels afterward. Every level includes professional colour and sound — nothing ships raw.
The Reel
One operator, one film, no footprint. The right call when you want the night on record without a crew becoming part of the room.
A roving camera works the floor while a locked-off angle holds the stage, so nothing on stage is ever missed while the operator is elsewhere. You come away with a tight cinematic recap that reads as a highlight of the evening rather than a document of it.
Coverage
Roving camera + locked-off stage angle
Hero Film
Cinematic recap, up to 2 minutes
Colour & Sound
Professional grade and mix
Turnaround
Seven business days
The Campaign
Built for the night that has to earn its keep afterward. More angles in, more story out.
Multiple locked-off positions run alongside the roving camera, which is what makes a real edit possible — cutting between perspectives instead of trimming a single take. The longer runtime has room for the build, the reveal and the crowd reaction, and full sound design gives the film the weight the room actually had.
Coverage
Roving camera + multiple locked-off angles
Hero Film
Cinematic recap, up to 5 minutes
Colour & Sound
Colour-graded + full sound design
Turnaround
Five business days
The Legacy
For the night that carries a name. Flagship coverage, mastered delivery, priority in the edit queue.
Dual roving operators plus gimbal work mean the film moves with the night instead of watching it, while dedicated crowd coverage captures the scale a stage angle can never show. Everything is fully graded, mixed and mastered to a standard that holds up on a venue LED wall, in a boardroom, or in a broadcast cutdown years from now.
Coverage
Dual roving + gimbal, locked-off angles & crowd
Hero Film
Flagship cinematic recap
Colour & Sound
Full grade + mix, mastered
Turnaround
Priority delivery
Tailor the night to your standard.
Every addition below is optional, and each one solves a specific problem that shows up after the event rather than during it. Add any of them to any coverage level.
Vertical Shorts
A run of 30-second cutdowns, framed vertically from the start.
A hero film is the wrong shape for the places people actually watch. Shorts are cut to fill a phone screen rather than letterboxed down from a wide master, which is the difference between a clip that stops a thumb and one that gets scrolled past. A library of them also solves pacing: instead of spending your whole moment on the day after the event, you release across weeks and stay present the entire time.
Title Package
Animated intro, outro, on-screen titles and a logo sting.
Without titles, a recap is footage. With them, it's a production with a name on it. Titles are also the practical layer of the film — they identify speakers, mark the venue, credit partners and give sponsors the on-screen placement they were promised. Get them right and the film can go out to a client or a board without anyone needing to explain what they're watching.
Full Motion Package
A complete animated brand system, delivered in every format, with source files you keep.
This is the option for anyone producing more than one night. A custom logo sting, title suite and transition set means every future film opens the same way and is recognisably yours before a word is spoken. Because you own the project files, the system carries forward to work produced by any team, in any year — you are buying an asset rather than a deliverable.
Pre-Show Interview
An hour of sit-down capture, cut in as voiceover through the film.
Event footage shows what happened. It can't explain why it mattered. An interview gives the edit a spine — a voice carrying intent over the visuals, so the recap argues something instead of simply showing a good night. It's the single addition that most changes how a film plays to someone who wasn't in the room, which is usually the audience that counts.
Photography
Colour-graded stills, shot and finished alongside the film.
Stills do the jobs video can't. They go in a press release, a deck, a recap email or a printed piece, and they're what a venue or partner asks for when they want to feature the night. Running a photographer with the same crew means consistent grade and framing across both, so the photos look like they came from the same evening as the film — because they did.
Extended Post
Deeper grading, full sound design and mastered deliverables.
Post is where a good shoot becomes a good film. Extended finishing buys additional grading passes, sound work built up rather than balanced, and masters cut to the exact specs of wherever the film will play — a venue LED wall, a broadcast slot, a social platform, a boardroom projector. Each of those wants different files, and getting them right is the difference between a film that looks intentional and one that looks compressed.
Every room has a different problem.
A trade-show floor, a ballroom keynote and a festival field each need a different crew, a different rig and a different plan. Below is how we approach the formats we run most.
Conventions & Trade Shows
A booth is judged by how busy it looks, and you cannot prove traffic with a photo of an empty stand at 8am. We shoot the floor at peak — demos running, seats full, conversations happening — so next year's budget conversation starts from evidence. Footage is captured with the show's own union and venue rules already handled, because we're working inside the building, not negotiating our way in.
Meetings & General Sessions
Keynotes have a second life as internal comms, training, recruitment and highlight reels — but only if the audio is clean and the slides are legible. We take a direct feed from the sound desk and a clean angle on the screen, so the recording is usable rather than a phone recording of a room. Multi-day agendas get cut into per-session assets instead of one unusable eight-hour file.
VIP Interviews
Talent gives you a narrow window, often minutes, usually in a loud room. A crew that is already on site with lighting and audio ready converts that window into something broadcast-usable instead of a noisy clip nobody can run. We build the setup near the flow of the event so the talent walks a few steps rather than being relocated, which is frequently the difference between getting the interview and losing it.
Event Hosting
Someone has to own the room — welcoming guests, moving the agenda, covering the gap when a speaker is late and the AV is still resetting. We supply hosts who work from the actual run of show, not a script written blind, because they're briefed by the same team producing the night. The result is an evening that feels paced rather than one that stalls between moments.
Professional Emcees
An emcee sets the energy level of the entire event and is the safety net when something runs long or goes wrong. Ours are matched to the register of the room — a black-tie awards night and a pool-deck activation need genuinely different people. They rehearse with the production and lighting cues, so transitions land on the beat instead of being talked over.
Festivals
Scale is the entire story at a festival, and scale is the hardest thing to photograph. It needs elevated positions, crowd coverage and long lenses working together — a stage angle alone makes 40,000 people look like a few hundred. We plan camera positions against the site map and the lighting design in advance, because at festival scale you cannot improvise your way to the shot once doors are open.
Weddings
Every moment is unrepeatable and there is no second take, so coverage has to be discreet and correctly positioned before it happens. We work the way we do at a corporate event — quiet crew, planned angles, clean audio on the vows and speeches — with none of the equipment becoming part of the room. The finished film is graded and scored, not a long unedited recording handed over on a drive.
Bachelor & Bachelorette
These nights move across several venues and nobody in the group wants to be responsible for documenting them. A crew that already has the table, the entry and the venue relationships in place travels with the party and keeps up. You get a genuinely cinematic version of the night rather than 400 dark phone photos and a video nobody can watch through.
Series & Residencies
A recurring night has a compounding advantage: consistent framing, a fixed title system and a repeatable edit turn each event into an episode of something rather than a one-off. Once the look is locked, turnaround gets faster and cheaper every cycle because nothing is rebuilt from scratch. Over a season you accumulate a library — which is what makes a residency sellable to sponsors.
One night, beautifully preserved.
A cinematic film for the moment, and a collection of pieces to share on your terms — crafted so the evening is remembered exactly as it felt.
Every package is built around the specific night, the venue and where the footage needs to go afterward. Tell us the date and we'll scope it with you.
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