Cameras, lenses, studios, post-production suites, and a curatorial submission path — built so independent filmmakers can spend their time telling stories, not chasing gear.
Six service lines that scale with your project — from a weekend music video to a season of television. All gear is maintained in-house, and every booking is staffed by technicians who actually shoot.
ARRI Alexa Mini LF, RED V-Raptor, Sony FX9, Blackmagic URSA 12K — paired with Cooke S4/i, Master Anamorphic, and vintage Soviet glass for character looks.
A 4,000-watt HMI through to a single Aputure 600d — plus a full grip truck, dollies, sliders, and a Techno Crane for the ambitious shot.
MixPre-10 II, Sound Devices 833, Sennheiser MKH 416s, Lectrosonics SMQV wireless — and a sound cart ready to roll the moment you walk on set.
Three stages on the same block: a 2,400 sq ft drive-in, an 800 sq ft black-box for table-top and dialogue, and a 1,200 sq ft cyclorama. Loading dock and free parking included.
Color, edit, and VFX suites with DaVinci Resolve Studio, Avid Media Composer, and Nuke. Online review rooms where clients can sit with the colorist, not in a Zoom.
The same venue programs a 96-seat cinema where you can hold a test screening, invite cast and crew, or premiere your finished film in DCP or 35mm.
Our bookings team has supported over 400 indie projects. The process is built for filmmakers who have a deadline, a budget, and a vision — and not a lot of patience for paperwork.
A 30-minute conversation to understand the scope, the look, and the constraints. We will tell you honestly whether we are the right shop — even if that means pointing you to a partner facility.
Within 48 hours, you receive a transparent line-item quote covering gear, crew, studio time, and a buffer for the inevitable day that runs long. No hidden grip truck surcharges.
Tech scout the stage, walk the load-in, meet your crew. We open the warehouse doors a day early for the inventory pull so you can start principal photography on time.
A dedicated coordinator is on call for the duration. Media is backed up to LTO the same day it is shot, and post hand-off begins the moment you finish your last setup.
Mono Film was founded by three cinematographers who were tired of being quoted for gear they did not need. Every service is shaped by the productions we have actually made ourselves.
Sliding-scale pricing for student films, debut features under $250K, and projects from historically excluded voices. We will work with you to build a package that respects the budget you actually have.
When you call at 2am because a lens has fogged and the actor is on set in ninety minutes, you reach a human who has solved that exact problem. Our on-call line is staffed by senior crew — not an answering service.
Every project that uses our services is automatically eligible for consideration in the Mono Film programming slate. Several features that began in our equipment room have gone on to screen at our festival.
We program 80+ screenings a year across our 96-seat cinema and pop-up venues. Submissions are reviewed on a rolling basis by a curatorial panel of filmmakers, programmers, and one rotating audience member.
A streaming link (Vimeo preferred, password protected), a director's statement under 250 words, a one-paragraph synopsis, a still from the film, and a brief crew bio. We do not accept rough cuts for the final slate — but we do watch works-in-progress for lab consideration.
Expect a first response within 6 weeks. If your work moves to the second round, a programmer will reach out for a 20-minute conversation. Selected films receive a screening fee, travel support for the director when budgets allow, and a marketing package designed around your specific project.
Three voices from projects that passed through our facility this year. We have not paid for any of these quotes — they asked us to keep their names off the website, and we agreed.
I came in expecting a rental house and found a small film community. The gaffer they paired us with had shot three of the references on my mood board — that is not a thing that happens.
They lent us a set of Master Anamorphics for a 6-day shoot at the indie rate. We probably could not have made this film otherwise. The footage is gorgeous and the invoice was the most reasonable part of our budget.
We premiered our short in their cinema after wrapping. Ninety-six people, a 35mm print, the director crying in the back row. That is the version of this industry I want to keep working in.
Our services are one corner of a larger cinema house. Browse the current slate, read the journal, or join the membership that funds the programming we are known for.