CLient Services

Hi, Hunter here from Box Party. When we aren't producing our own shows and independent films, we offer a variety of client services designed to meet you where you are with your next project. Shorts, Features, Docs, Pilots, Live Tapings, Commercials, Podcasts, Music Videos... if you can shoot it, we've shot it.

Whether you're in development, pre-production, on set, or in the post suite, we know all the talented folks and nice tools it takes to help you make things you're proud of.

If you like what we've got going on and want to get in touch about a project, come say hi on the CONTACT page. Tell us a bit about yourself and your next production, and we'll send over a quick questionnaire to help get up to speed with what you need and how we can help. No commitment. No worries.

Give it a try. It's easy. Therapeutic, even.

Contact

On-Set DIT, Media Management, Dailies

Life's full of little mysteries. Your hard drives probably shouldn't be.

Box Party provides production-to-post workflow support for commercial, branded, documentary, and narrative projects. Whether you just need secure card offloads on set or a full dailies-to-editorial handoff, we help keep your project organized from the first card to the first cut.

01. ON-SET MEDIA MANAGEMENT

Secure, verified card offloads and organized drive handoffs. For productions that need safe, reliable media management, clean reports, and redundant backups at the end of the shooting day.

Checksum-Verified Card Offloads

Spot Check QC

Master and Backup Drive Organization

Media Offload Reports

Clean Post-Handoff

Hard Drive Recs

02. DIT + LOOK SUPPORT

Custom color workflows for productions that need transcoded proxies that reflect the intended creative look of the finished product, not just flat original camera files or basic Rec 709 conversions. We collaborate with the director of photography to ensure the first clips your director, producer, post-team (and client) sees look amazing and reflect the intention, time, and effort your team put into crafting them in the first place.

Throughout the shooting day, we also find frame grabs from our favorite shots and give them a little color love, so by the time you get home from set, your clients and creative team can already get a taste of how great their hard work will look when it all comes together.

Everything in Media Management

Graded Proxies Reflecting Creative Intent

Show-LUT/Look Creation

Advanced Exposure/Image QC

Client-Friendly Graded Framegrabs

Post-Friendly Color Notes & LUT Reports

03. DAILIES + EDITORIAL PREP

A higher-touch workflow for productions that also need a lightweight dailies house and assistant editor. We offload and organize the footage, create custom-color proxies, sync audio, build dailies timelines, upload password-protected Vimeo review links, and prep an Adobe Premiere (or DaVinci Resolve) project so your editor can start cutting without losing a day to ingest.

We bridge the gap between set and post. For production teams that want a streamlined, single point of contact for anything that comes up in the nebulous mini-verse between when shooting finishes and editing begins.

Unless of course you love all the warm, lasting friendships that develop when you're part of four different email threads with a dozen other people all touching base, circling back, and running it up the flagpole.

Everything in DIT + LOOK SUPPORT

Client-Friendly Upload Links

Audio Sync

Editor-Friendly Dailies Stringouts

Editor-Ready Project Setup (Premiere or Resolve)

Organized Notes Folder (Local drives & emailed)

I (Hunter again, hello) have worked as a DIT, Digital Loader, AE, and Colorist for everything from indie films to Super Bowl commercials. Whatever your project and whatever your needs, let's talk about it!

There's no one-size-fits-all solution for every project. So you'll get a tailored, fair quote based on what you actually need. Not a series of upsells for what you don't.

Get in Touch (It'll Be Fun)

a few brands we've worked with

Box Party Color

COLOR WITH A POINT OF VIEW.

Modern digital cinema cameras rock. Our approach to color is not about fighting their strengths. It's about shaping them with intention.

We develop looks that draw from the color response, contrast, texture, and photochemical character associated with Super 16 and 35mm negative film. We think about color more like a film lab would: choosing how the image should respond, where density should live, how skin tones should separate, highlights should roll, and texture should support the story.

The result should feel cinematic and familiar, without calling attention to the process: natural skin, dimensional color, controlled contrast, graceful highlights, and texture that feels tactile and alive. We work with your feedback at every stage, creating a grade informed by our sensibilities and your intention.