Video production services
in Oslo
I produce corporate and institutional video
in Oslo with a senior, compact crew.
Typical engagements include:
• Executive interviews and leadership messages (single or two-camera)
• Corporate films and case studies for global teams
• Conference and event video coverage (multi-camera, stage audio feed)
• Testimonials filmed on-location or in offices and venues
• Brand and documentary-style stories with controlled visuals
• Post-production: edit, captions, deliverables for web and social
Who you're hiring in Oslo
I'm Theo Solnik, founder of Haikai Media and the cinematographer on every Oslo shoot. I trained in film directing and cinematography at the German Film and Television Academy Berlin (dffb) under Fred Kelemen, Béla Tarr's cinematographer on The Turin Horse, and have been shooting corporate, documentary and cinema work for over thirty years.
Oslo is where I started. I moved to Norway at seventeen, directed my first short film there and took a degree in philosophy and sociology at the University of Oslo. I speak Norwegian, which means I can brief a Norwegian crew, settle a Norwegian contributor before the camera rolls and run the same production in English for the client watching from London or New York.
My first feature, Anna Pavlova Lives in Berlin, won the Prize for Young Film Art from the German National Gallery and the German Film Academy — presented by Bruno Ganz and Iris Berben — and was exhibited daily over four months in a dedicated room at the Hamburger Bahnhof – Nationalgalerie der Gegenwart museum in Berlin. My work has since screened at festivals and museums in more than 25 countries and is currently streaming on Amazon Prime Video.
I hold Italian and Brazilian nationality and a U.S. O-1B visa as an Artist with Extraordinary Abilities. I speak seven languages including Norwegian and English.
When you book an Oslo shoot with Haikai Media, you're hiring a director of photography who has personally lit, framed and delivered the work — not a booking agent passing the job to an unknown freelancer.
My full portfolio is at theosolnik.com Full biography and credentials at About Theo Solnik
Executive interviews in Oslo
Executive interviews are the most common form of video production in Oslo for international companies. They are usually filmed in the company's own offices, in a conference venue or in a hotel room prepared for the day, and the work is to build an environment that feels unforced while staying technically identical from one speaker to the next.
My standard setup is two cameras — a wider primary frame and a tighter secondary — on a RED Komodo 6K with Zeiss Standard Speed primes (16, 24, 32, 50, 85mm), with a Blackmagic Pocket 4K or the full-frame Sigma FP, shooting in 12-bit RAW, as the B camera. Audio goes to a Sennheiser MKH-416 shotgun or a Sanken COS-11 lavalier, with an independent 32-bit-float recorder running as backup. I bring a teleprompter when a speaker wants one, and I ask for the script a day ahead so it is loaded and formatted before anyone sits down.
For teams coordinating from another time zone, interviews are structured around a clear brief beforehand and fast review links after filming. Deliverables are exported for web, internal communications or social distribution, with optional subtitles and cutdowns.
Example work: Corporate interview video production in Oslo — see selected projects: https://www.haikai.media/interview-and-testimonials-showcase
Case study: BW LPG — Corporate video production in Oslo
BW LPG is the world's largest owner and operator of Very Large Gas Carriers, listed on the Oslo Stock Exchange since 2013 and dual-listed on the New York Stock Exchange since 2024. In August 2026 I filmed the Oslo leg of the company's corporate film at its headquarters in Skøyen.
The day was governed by two fixed constraints. One senior contributor had an afternoon commitment and could only sit at ten in the morning. The Group CEO was not free until after midday. Rather than accept the nine o'clock crew call on the call sheet, I asked for building access at eight, which bought an hour to walk every room, test two interview positions against the daylight coming off the fjord side of the building and rig before the first contributor arrived.
Interviews were shot on two cameras with a teleprompter for the CEO and a separate background for each speaker, with observational coverage of the trading floor, the fleet-tracking screens and the wider office picked up between the sit-downs. Interviews ran at 30fps and b-roll at 60fps so the Oslo material would cut cleanly into footage filmed elsewhere and could be slowed where the edit wanted it.
Post-production was handled in house by the client, so my delivery was the converted master footage — 3840x2160, H.265, Rec. 709 — sent the morning after the wrap, along with a selected set of stills from the day.
Conference and event video production in Oslo
Conference video production in Oslo asks for consistency, intelligibility and reliable coverage of both the platform and the room. Filming is normally structured around locked-off cameras on the stage and the speaker, with a roaming camera for audience questions and contextual footage.
Audio integrity decides whether the material is usable. Where the venue can provide it, I take a feed directly from the sound desk and record independently on site as redundancy, so a dropout at the desk does not cost you a keynote.
Norwegian conferences frequently run bilingually, with a presentation in English and questions from the floor in Norwegian. Because I understand both, the roaming camera is pointed at the right person before the question is finished rather than after it.
Deliverables can include full session recordings, a highlights edit and shorter social versions. Productions can be planned so the key content lands while the event is still current.
Example work: Conference and event video production — see selected projects: https://www.haikai.media/projects/event-videos
Corporate video production in Oslo
Corporate video production in Oslo usually combines interviews with contextual filming that shows the people, the environment and the processes behind the message. Filming is planned around the real working day so the disruption is small and the material is honest.
The Norwegian working day is a genuine scheduling factor. Offices empty from around four in the afternoon, so any b-roll that needs people in it has to be captured before that, and the quiet late-afternoon hour is better spent on empty-room and detail coverage than on wide shots of a floor nobody is sitting on.
B-roll may include workspaces, meetings, screens, production or operational areas and exterior establishing shots. These give the edit its structure and carry continuity between sections.
I handle post-production in staged review rounds: assembling the narrative, integrating brand elements, balancing audio and preparing delivery formats for the intended platforms. Final deliverables may include a primary film, shorter cutdowns, vertical formats and captioned versions.
Example work: Corporate video production — see selected projects: https://www.haikai.media/projects/corporate-videos
Filming logistics and production workflow in Oslo
Permits. Corporate interiors — offices, hotels, private venues, conference centres — need no municipal permit, only the building's own permission and reception pre-registration for the crew, which I supply names for in advance. Norway has no general prohibition on filming outdoors, but permission comes from whoever owns the ground, and a permit is required where a shoot holds or blocks traffic or pedestrians.
The Oslo Film Commission is the right first call for anything ambiguous. Filming on the T-bane, the trams or their stops needs a separate application to Sporveien with roughly a fortnight of processing time, so that goes into the schedule early or comes out of the plan. Much of the waterfront is privately managed, which makes access there a landowner conversation rather than a municipal one.
The business districts are Skøyen, Aker Brygge and Vika, Bjørvika and the Barcode row, Lysaker, Fornebu, Nydalen and the Gardermoen corridor.
Light. This is the planning factor people fly in without considering. Around the winter solstice Oslo gets roughly six hours of usable daylight, which means exterior and window-lit interior work is squeezed into the middle of the day and everything else is lit. In June there are close to nineteen hours, and the problem inverts — long, low, beautiful light, and blackout on windows if a controlled interview background is wanted.
Call times. I ask for building access an hour or two before the crew call on the call sheet. That's the time where the room choices, the lighting plan and the background variations get decided, and it is the difference between three good setups and one repeated three times.
Crew. I work as an owner-operator and bring in vetted local crew when the production needs it — a gaffer, a second operator, a sound recordist. On the BW LPG shoot that meant an Oslo gaffer working alongside me.
Equipment is mine: RED Komodo 6K, Blackmagic Pocket 4K, Sigma fp, Zeiss Standard Speed PL-mount primes, DJI RS 3 Pro with LiDAR and Focus Pro, Zoom field recorder, Sennheiser and Sanken microphones, and a full lighting package. No rental surprises, no last-minute substitutions. Drone work is quoted separately and planned against Norwegian airspace restrictions.
Example work: See production workflow and examples: https://www.haikai.media/how-it-works
Deliverables and turnaround
Oslo deliverables are prepared for the client's intended use: master files for internal distribution, compressed versions for the web and shorter edits cut for social platforms.
Where a client's own post-production team is finishing the film, I deliver converted masters in the format their workflow expects. My default is 3840x2160, H.265, Rec. 709 at 40,000 kbps, and ProRes or the original raw files are available on request. Frame rate, colour space and codec are agreed before the shoot, not after it, so Oslo material intercuts with footage shot in other cities without a conform problem.
Where I am finishing the film, editing runs in staged review rounds so feedback is absorbed efficiently. Colour grading, sound mix and original music composition are handled in house.
Interview-based productions deliver a first cut within 24 to 48 hours of wrap. After your feedback, the final corrected video follows within 24 hours. Conference and multi-day productions follow the schedule agreed in the quote. Final exports: ProRes masters, H.264 web versions, 9:16 social cutdowns, burned-in or sidecar subtitles on request.
Pricing
Every Oslo project is quoted individually on crew size, shoot days, deliverables and post-production scope. There are no hidden surcharges: additional crew, specialised lighting, prompter hire and anything outside the agreed scope is itemised separately, so you see exactly what you are paying for before you commit.
Payment terms are 50% on signing and 50% within five business days of final delivery. I invoice in euros as standard and can invoice in another currency where that is simpler for your finance team.
Typical engagements range from a single-day executive interview to multi-day conference coverage.
Do you speak Norwegian on set?
Yes. I studied at the University of Oslo and work in Norwegian as well as English, which covers briefing local crew, putting contributors at ease and following questions from the floor at bilingual events. My other working languages are Italian, German, French, Spanish and Portuguese.
Do I need a filming permit in Oslo?
For corporate interiors, no — you need the building's permission and crew names for reception in advance, which I handle with your contact. Outdoors, permission comes from the landowner, and a permit is required where filming holds or blocks traffic or pedestrians. Filming on the T-bane or trams needs a separate application to Sporveien with around two weeks' processing.
Can you crew up locally in Oslo?
Yes. I work as an owner-operator and bring in vetted Oslo crew — gaffer, second operator, sound — when the production calls for it. That was the setup on the BW LPG shoot in August 2026.
What's included in the day rate?
The day rate includes me as DP, the RED Komodo camera package, Zeiss primes, standard lighting and audio kit. Additional crew, specialised lighting, teleprompter hire and permits are quoted separately.
How fast can you deliver?
First cut within 24 to 48 hours of wrap for standard interview projects. After your feedback, the final corrected video follows within 24 hours. Where your own team is finishing the film, converted master footage is uploaded the morning after the shoot.
Are you VAT-registered?
I operate under Italy's regime forfettario (Art. 1, c. 54–89, L. 190/2014), which exempts my invoices from VAT. This simplifies billing for Norwegian, EU and non-EU clients.
Our Projects
Oslo Video Production
I work in Oslo as a self-contained production unit: my own cinema cameras, lenses, lighting and audio, a Norwegian-speaking DP who has been shooting for over thirty years, and local crew brought in when the job needs more hands. In August 2026 I filmed the Oslo leg of a corporate film for BW LPG at their Skøyen headquarters, working with the CEO and the senior leadership team.
From executive interviews in Skøyen and Aker Brygge to conference coverage in the city centre, I handle room reconnaissance, lighting, sound, prompter operation, delivery in your post team's format and remote review for stakeholders in other time zones. Bookings can be confirmed within a week of first contact.
