Video Production Services Across Europe
I'm a senior cinematographer producing corporate films, executive interviews and conference coverage across Europe's major business cities, for international communications teams who need one reliable person on the ground rather than a different unknown crew in every market.
One cinematographer, one standard, across European markets
I'm Theo Solnik, founder of Haikai Media. I plan, light, shoot, direct, edit and grade the work myself, so a client running a shoot in Lisbon one month and Vienna the next deals with the same person to the same standard, not a new local supplier each time.
That continuity is the point of working with me across Europe. You brief once. The look, the sound, the delivery format and the way I work with your people stay consistent from city to city, which matters when the footage has to cut together or sit side by side on the same channel.
I've done exactly this kind of multi-market work — the Zühlke employer-branding series ran across Porto, London and Belgrade, and the discipline of holding one visual language across three countries is the same discipline a pan-European campaign needs.
Seven languages, handled by the person actually filming
I work in seven languages — English, Portuguese, German, Italian, Spanish, French and Norwegian. On a European shoot that means I brief a local crew, direct a contributor and talk a client through the plan across different languages in the same day, without a translator in the middle.
For an international team, the practical value is a single English-speaking point of contact who also handles the local-language side directly — permits, venue contacts, participants — rather than passing messages through a fixer. Less gets lost, and less time goes on coordination.
What I produce
The core work across every European market is the same: executive interviews and leadership messages, corporate and brand films, conference and event coverage, testimonials, and product or facility films. Single or two-camera, filmed on location in offices, venues, plants or controlled rented spaces.
I handle the production end to end — scouting, permits where public space is involved, filming, and post through to delivery in the formats your teams work in. Where a job needs more hands, I bring in vetted local crew and direct them myself.
Technical standard
I shoot on a RED Komodo 6K with Zeiss Standard Speed PL primes, with a Blackmagic Pocket and Sigma fp as B and C cameras. Audio runs to a Sennheiser MKH-416 and Sanken COS-11 with an independent 32-bit float recorder. Full lighting package, DJI RS 3 Pro with LiDAR and Focus Pro, and a TRUST-certified drone.
The kit is mine, so what's quoted is what turns up — no rental substitutions on the day. Cinema-quality acquisition means the footage holds up in high-end post and archives cleanly for reuse.
Full gear list at theosolnik.com/gear.
Why international teams film in Europe
Europe's compact geography makes multi-city shoots efficient — several business centres inside one production schedule, connected by fast rail. A single European shoot can produce assets that serve North American, European and Asian audiences at once, and production costs often run below comparable US metropolitan markets.
The visual character helps too. Architectural heritage, design sensibility and cultural association add implicit value to corporate content aimed at global markets, which is harder to manufacture on a soundstage.
Post-production and delivery
I adapt to how your team works. Some clients take graded, finished films through to final delivery; others want camera footage in an editing-ready format for an in-house or contracted post team. Either works.
Finished deliverables come as ProRes masters, H.264 web versions, vertical social cutdowns and subtitles on request. Colour grade, sound mix and original music are handled in house. Files ship on drive or upload to whatever platform you specify.
European coverage
I produce video in these cities and across the surrounding regions.
Italy
Rome · Milan · Turin · Bologna · Florence
Portugal
Germany
Munich · Cologne · Düsseldorf · Stuttgart
Switzerland & Austria
Spain
Madrid · Barcelona · Valencia · Bilbao · Seville
France
Paris · Lyon · Toulouse · Bordeaux
Planning a European shoot
Tell me the objective, the timeline and the cities, and I'll tell you honestly what's realistic and what it costs. Straightforward single-city work can often be confirmed on scope and budget quickly; multi-city campaigns needing coordinated locations take a little discovery first.
I read every enquiry myself and reply within one business day.
FAQ
Which European cities do you cover?
I cover Rome, Milan, Turin, Bologna, Florence, Lisbon, Porto, Munich, Cologne, Düsseldorf, Stuttgart, Zurich, Vienna, Davos, Madrid, Barcelona, Valencia, Bilbao, Seville, Paris, Lyon, Toulouse and Bordeaux, across these cities and the regions around them. Wherever the shoot is, you deal with me directly.
How does a multi-city European shoot work?
I plan the cities as one production, hold a single visual and technical standard across all of them, and bring in vetted local crew where a location needs extra hands. You brief once and get footage that cuts together across markets.
What languages do you work in?
Seven — English, Portuguese, German, Italian, Spanish, French and Norwegian. I brief crews and direct contributors in the local language while keeping English as the coordination language for international teams.
Who actually shoots the work?
I do. I plan, light, shoot, direct, edit and grade every project. When a job needs a larger crew I assemble and direct local people myself, rather than handing the job to an unknown supplier.
How do you handle billing for international clients?
I invoice from Italy and organise all local logistics for the shoot myself, so the client side stays simple regardless of which country the shoot is in.
Start your European project
Tell me what you're making, when it's due and where it shoots. I'll tell you honestly whether I'm the right person for it.
