Seven things we do, with the work that shows it. All of it is shot by our own crew and cut to what the people commissioning it need, whether that is a studio publicity team or a charity.
On-set coverage across a shoot: the process, the atmosphere and the people making the film, for featurettes, social and archive. Embedded for the run of a production or in for the days that matter.
Case study
The Wheel of Time
Two years embedded with the production, then back for the third season. Marketing shoots including an anamorphic billboard campaign, social assets, a behind-the-scenes documentary and full EPK facilities, delivered through the pandemic for a worldwide rollout.
Case study
28 Years Later
Behind the scenes and cast interviews on Danny Boyle's return to the franchise, then the same again on the sequel, The Bone Temple. On the first film we also shot and directed a show and tell with Boyle on the camera technology, and our material runs through the campaign's Behind the Cameras piece, the cast featurette and the Becoming the Infected featurette.
Case study
The Woman in Cabin 10
Behind the scenes and cast interviews across the UK shoot, including a super yacht on the south coast, with Keira Knightley and the cast. We also cut three featurettes for Netflix from the material.
Cast and crew interviews, press kit material and junket facilities, built around what publicity and distribution teams need and delivered to their spec.
A controlled day with talent built for the campaign: several set-ups, several formats, one crew that already knows what the publicity and social teams need.
Case study
Masters of the Universe
Publicity days at Shepperton Studios for Amazon MGM, then a creative content and gallery shoot for the 4DX experience at Cineworld O2. Green screen, constructed sets, talent-led pieces and stills, all in a day each.
Case study
Stranger Things: The First Shadow
A content day with the cast of the West End production for the Netflix campaign: a black void set-up, several formats in a day, directed by Matt Bell. We also made Behind the Curtain, the feature-length documentary on the making of the show, now streaming on Netflix.
Feature-length and long-form films, made with the access that comes from already being part of the unit.
Multi-camera concert and performance captures for broadcasters and labels, with the same crew and turnaround as the studio work.
Documentary shorts and sizzles for charities, shot where the work happens and cut for fundraising, campaigns and press. Two films so far with Mines Advisory Group, in Cambodia and Sri Lanka.
“It is important, particularly when working in sensitive spaces, (be that a charitable organisation operating in remote communities, or the high stakes day to day dramas on a tense film set), that any one charged with documentary capture can navigate the subtleties of the situation; they must be quick to respond to exciting happenings, and also quick to melt into the background and retreat when required… Wolfshoulder embodies this ability.”
Season two: official behind the scenes look
Two years embedded with the production, then back for the third season. Marketing shoots including an anamorphic billboard campaign, social assets, a behind-the-scenes documentary and full EPK facilities, delivered through the pandemic for a worldwide rollout.
Behind the scenes reel: shot by Wolfshoulder for Sony Pictures
Behind the scenes and cast interviews on Danny Boyle's return to the franchise, then the same again on the sequel, The Bone Temple. On the first film we also shot and directed a show and tell with Boyle on the camera technology, and our material runs through the campaign's Behind the Cameras piece, the cast featurette and the Becoming the Infected featurette.
Official trailer (Netflix). Shown for context; our work on the title: BTS and EPK and Edit.
Behind the scenes and cast interviews across the UK shoot, including a super yacht on the south coast, with Keira Knightley and the cast. We also cut three featurettes for Netflix from the material.
The Making of a Monster: Guillermo del Toro and Jacob Elordi. Interviews shot and lit by Wolfshoulder for Netflix
We shot and lit the EPK interviews with the cast and heads of department for Guillermo del Toro's film, and shot the scoring session with Alexandre Desplat. The interviews run through Netflix's craft featurettes, the five-part The Making of a Monster series and The Anatomy Lesson, the making-of feature on Netflix. The on-set behind the scenes footage in those pieces is the production's own.
In-production announcement, shot and directed by Wolfshoulder for Apple TV
EPK and behind the scenes on the series adaptation of William Gibson's novel. We also shot and directed the in-production announcement clip for Apple TV.
Zach Cregger on survival horror (Sony Pictures)
EPK interviews on Zach Cregger's film.
Official trailer (Amazon MGM Studios). Shown for context; our work on the title: Content day and Gallery.
Publicity days at Shepperton Studios for Amazon MGM, then a creative content and gallery shoot for the 4DX experience at Cineworld O2. Green screen, constructed sets, talent-led pieces and stills, all in a day each.
Behind the scenes of our content day, directed by Matt Bell
A content day with the cast of the West End production for the Netflix campaign: a black void set-up, several formats in a day, directed by Matt Bell. We also made Behind the Curtain, the feature-length documentary on the making of the show, now streaming on Netflix.
Official trailer (Sony Pictures). Shown for context; our work on the title: Content day.
A talent content day for the release campaign, with Naomi Ackie.
Our photo from the day. No video on this one.
A day with Zendaya, Josh O'Connor and Mike Faist: interviews, skits and social pieces for the release campaign, shot and turned around to the studio's deadline.
Still from the production. No video on this one.
Cast interviews and social requests for the campaign, with Naomi Ackie.
Video
Fourteen cameras on a performance by the National Open Youth Orchestra with BBC National Orchestra of Wales at the Barbican, cut as The Orchestra: A Young Person's Guide.
Video
Jalen Ngonda's sold-out London debut at the Eventim Apollo, filmed and cut with whynow.
Video
With MAG and its ambassador Rosamund Pike in the north and east of Sri Lanka, where teams are clearing the landmines and unexploded bombs left by the civil war and returning the land to the people who live there.
Sizzle, 6 min 31: shot by Wolfshoulder
A sizzle shot with MAG in Cambodia in 2024: the teams clearing the landmines and unexploded ordnance left by decades of war, and the people living on the land they hand back.
Social
Talent-led pieces, creator formats and the moments a feed needs, captured on the same day as the EPK and BTS and cut for each platform. If you want us to run the channel for the campaign, we can do that too.
Social