*Technically, to the 18% gray card we're named after. We spend our days trying to deserve it. A family-run production company in Los Angeles — script to delivery.
Before take one, somebody holds up a flat, featureless gray card. Every light meter on the planet is built around it. Every exposure decision that follows is measured against it. No drama, no opinion — just the reference standard.
That felt like the right thing to name a company after.
If you know the card, you already know what we're promising. If you don't: it means the unglamorous parts — exposure, backups, schedules, deliverables — are handled with obsessive precision, so the interesting parts can be fearless.
Kodak made it famous. We made it a business plan.
Most projects lose something every time they change hands. Ours don't change hands.
Concept, treatment, screenplay. Every strong frame starts as a strong sentence.
ELENAShot lists, boards, schedule, locations. The plan that survives contact with day one.
BOTHCamera, lenses, light. Exposed on purpose, moved with intent, framed to mean something.
OLEGChecksummed offloads, sync, proxies. Your footage exists in three places before anyone goes home.
OLEGStructure, rhythm, performance. The version of the story you didn't know you shot.
ELENACorrection and finishing. We push the image as far as it wants to go — from a calibrated middle.
OLEGEvery spec, every platform, correct gamma, on time. The boring ending every project deserves.
BOTHALSO AVAILABLE À LA CARTE: DP / CAMERA DEPT · COLOR · ON-SET DATA · WRITING · EDITORIAL
Elena writes the first word and makes the final cut. Scripts and story structure on the way in, editorial on the way out — which means the edit always knows what the writing was trying to do.
Oleg produces and directs when a project calls for it, but lives behind the lens: cinematography, camera department, color correction, and on-set data management. Cartless, never careless.
Between the two of us: development to delivery under one roof — and one last name. For bigger days, we scale with a trusted bench of local crew.
A different rhythm than narrative work — faster setups, bigger swings, and a grade that can go wherever the track goes.
18% Gray Production opened in 2024 — and our very first booking was color-correcting a feature documentary. The rest of that first year looked like this:
Tell us what you're making, when it shoots, and roughly what it should cost. You'll get a straight answer — usually within a business day.
LOS ANGELES, CALIFORNIA · WILL TRAVEL FOR GOOD LIGHT