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.
Fedstar produces commercial photography and motion from Salzburg. Stills and film share a recce so a lookbook does not argue with a cut, and a campaign does not arrive as two vendors in public. The rooms on Getreidegasse hold tabletop, a compact cyclorama, and a colour desk. Clients review tethered stills and a calibrated picture in one visit. Product and grade are not two appointments. Location days stay on the stone we recce. Bounce and a quiet key match the alley; we do not gel a brochure sunset onto a grey street. If the weather turns we wait or we rewrite the shot. Agencies come with a media plan. We name masters for print, 1:1 and 9:16, keep a working project for the revision window, and hand an archive another team can open a year later.