FIVE DISCIPLINES.
ONE DEPARTMENT.
Every effect is real, every stunt is performed, and every setup is engineered for safety and camera.
STUNT COORDINATION
- Fight choreography, vehicle action, high falls, fire gags, glass breakaways
- Full department management — pre-production through wrap
- Stunt viz, performer casting, rehearsal, on-set safety protocols
- Crowd stunt sequences and multi-unit coordination
THIS LOOKS LIKE
An action sequence with 12 stunt performers, three vehicles, and a building collapse — planned, rehearsed, and executed in two shoot days.
SPECIAL EFFECTS
- General atmospherics — rain of all sizes via tower systems and overhead rigs
- Fire of all scales, wind machines from interior electric to exterior V8-powered
- Martini valves, pneumatic car cannons, pneumatic lifters
- Breakaway sets, hydraulic platforms, cable pulls, controlled collapses
THIS LOOKS LIKE
A monsoon-level rainstorm from an overhead rig, a floor that drops on cue, a vehicle launched by a pneumatic cannon — all practical, all in-camera.
PYROTECHNICS
- Licensed pyrotechnician — remote and hardline firing box systems
- Bomb pots of all sizes, mortar effects, flash pots, sparkle pots
- Body burns, fire bars, bullet hits, flame effects
- Full safety planning coordinated with stunt and camera departments
THIS LOOKS LIKE
A car explosion with a stunt performer walking through the fireball — one take, real fire, real timing.
STUNT RIGGING
- Wire work for flying, fighting, and horizontal travel
- Descender systems for high falls, track wires, aerial rigs
- Load-engineered rigging integrated with set construction and grip
- Inspection protocols before every take
THIS LOOKS LIKE
A performer thrown 40 feet through a window, caught by a descender, and landing on a crash mat — invisible to camera.
STUNT PERFORMER
- Doubling for principal cast — fights, falls, vehicle hits, fire burns
- Wire work, weapons handling, precision driving
- 20+ years of on-set performance across international productions
- Performance background that informs every coordination decision
THIS LOOKS LIKE
A close-quarters fight scene where the double matches the lead in movement, build, and timing — the cut is invisible.