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Commercial Shoot Days
A commercial shoot day at Tylersfilms LLC is a full production day on the lane, sized for product spots, brand films and campaign stills. The light stand row arrives pre-rigged and the slate rack is stocked before the crew walks in, so the first hour goes into the shot list rather than the rig. We build the call sheet around what the director needs to see, then keep a floor manager on the lane for the whole day to move stands, hold the set and keep the schedule honest.
Commercial bookings usually include a morning setup block, a full shooting afternoon and a short wrap window for card dumps and a colour check on the edit monitors. If the job runs long, the floor can hold the next morning rather than sending everyone home and starting cold. Tell us the deliverables up front and the plan will name the positions and the number of setups each one can carry.
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Event Coverage Crews
Two and three person crews leave the Layton floor to cover conferences, product launches, award evenings and private celebrations across northern Utah. Each crew travels with camera, sound and a floor producer, so the client has one person to speak to instead of a freelance list. We confirm the run of show, the rooms and the access times before the day, and the crew works to a shot list that matches the schedule rather than a generic sweep of the room.
Footage comes back to the same studio the same night. Cards are logged against the event name, backed up to the project library and prepared for overnight assembly, which means a launch can have a same week edit without a second vendor. For multi room events we assign a roaming crew and a fixed position, and the producer keeps the two in contact so nothing important happens off camera.
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Studio Floor Rental
The lane is rented by the half day and the full day to producers who bring their own crew and equipment. The booking includes the floor, the light stands with barn doors, the slate rack and the dressing well with mirror bulbs, plus the cable runs already taped to the floor seams. Load-in opens an hour before the block begins, the loading door takes flight cases on wheels, and the floor is struck clean before the next booking starts.
We keep a short list of house rules so independent crews know exactly what is included and what is not. Anything powered through the floor needs to be booked as equipment checkout, and anything fixed to the walls needs the floor manager to approve the position. Beyond that the room is yours for the block, and a producer can ask for a walk through before the shoot date at no extra charge.
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Location Scouting Runs
A scouting run pairs one of our producers with a location lead for a half day of walking candidate sites, testing sight lines and photographing every angle a crew will need on the day. We check power positions, load-in routes, noise sources and the direction of the available light, then note the window when each site looks its best. The findings come back as a working folder rather than a set of loose images.
Scouting is often booked before a commercial shoot so the director can compare the studio floor against a real location honestly. Where a site needs permits or a site contact, the folder names the person and the lead time. Where a site is a poor fit, we say so on the page and suggest a position on the lane that can reproduce the look without the drive.
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Edit Suite Sessions
The edit suite sits off the lane in its own quiet room with calibrated monitors, a shared project library and a colour pass bench. Sessions are booked by the hour, by the day or held across a deliverable window when a campaign needs several cuts reviewed by the same people. Editors pull footage straight from the studio capture drives, so there is no transfer step and no waiting for a drive to arrive.
Clients are welcome to sit in, and the room is wired for a review screen that shows the timeline without blocking the bench. We also run a short handover when the edit closes, covering naming, versions and the delivery folder structure, so the next team can pick the job up without a call. The suite shares the studio address, which makes it practical to check a cut while the set is still standing.
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Equipment Checkout
Productions that need a lean package without a full floor booking can check out stands, barn doors, slates, monitors and support grip from the studio. Every item is tested on the bench before it leaves and logged back in against a named crew member at return, which keeps the kit list honest across back to back jobs. Checkout is arranged around your shoot days, with collection and return slots that fit the call sheet.
We keep the checkout list deliberately narrow and reliable rather than deep and exotic. If a job needs something we do not hold, the floor manager will say so early and point to a supplier we trust instead of promising a substitute. A small damage deposit applies to items that leave the building, and the condition of each piece is recorded on the checkout sheet before it goes into the case.