Interviews get a boom and a lav, not a camera mic ‘for safety’. Safety is a second recorder, not a worse microphone.
Wild tracks and room tone are shot even when the day is stills-heavy. A future cutdown will need them.
Music is licensed for the territories in the contract. A temp track that cannot be bought is not a creative direction; it is a trap.
Mix happens with picture, on speakers that resemble the client’s world — a laptop and a television, not only a suite.
We deliver stems when versions will be recut. A printed mix alone is how a six-month-later social cut sounds like a different film.
Digitwest produces commercial stills and branded films from Plzeň. Photography leads; motion follows the same key so a campaign does not split in public between a pack shot that looks like noon and a cut that looks like dusk. The rooms on Náměstí Republiky hold a north window, tabletop, and a colour desk. Clients review tethered stills and a calibrated picture in one visit. We travel in Czechia and nearby with a small crew; local support when a story needs more hands. Square light first. Bounce and a quiet key that match the sandstone, not a sunset someone remembered from a stock library. If the window dies we add a small key that mimics it. We do not start over with a second look. Finishing stays in the same building as the tabletop. Masters are named for the media plan. We keep a working project for the revision window written in the estimate, then an archive another team can open without a private scheme.