Inside Nitrate
Nitrate is nine people and one edit suite in San Francisco. We stay on a picture from the first conversation to the final grade, and most of ours begin with a long talk and a walk around the location rather than a deck. We would rather understand why a film needs to exist than fill a quarter with content nobody remembers.
From the first brief to the final grade, we shoot campaigns that carry one clear idea and a cast who look like the people who actually buy from you. We scout, storyboard, shoot and cut in house, and deliver in every ratio the media plan asks for — television, cinema, digital and social — without re-shooting a frame.
Our documentary work is observational and slow to intrude. We usually spend the first day with the camera down, learning the room, then shoot in long takes and let the cut find its shape. Founders, growers, cooks, a whole town — the films that last are the ones where nobody performs.
A shoot day should feed more than one film. We plan verticals, short edits and stills into the same schedule, so a campaign leaves with a month of posts already graded and captioned. Everything is framed for a phone first and checked on a television second, and the tone stays yours across all of it.
