Blog Feed - Video Production Services | Big Egg Films — Brighton, London, Liverpool

Cisco and Softcat partnership video

Mon, 23 Feb 2026 08:32:00 GMT

Just had this from our client Hannah from Cisco and totally buzzing!

"Overall, the finished case study film has already helped us attract new clients and communicate our value more effectively. I highly recommend Big Egg Films to anyone seeking a reliable, creative, and professional video production partner. Thank you Adam for helping us bring our story to life!" Hannah Partner account Manager, Cisco

We're buzzing because it's not just a lovely thoughtful review, which must have taken time (this is just a small section) but it shows that at the heart of what we do, and how we help get people to reach their goals; for example raising awareness, getting a message out there, or basically getting them more work.

Seeing it in plain black and white that this has "already helped them attract new clients" is sort of what it's about really. Although we know this to be true, having proved our approach over 15 years now, it still gives us a massive boost to read it. So thanks Hannah at Cisco you didn't need to spend this much of your time writing this, but it's really given us a Monday Boost, which at the moment in the deeps of several projects and building a studio, is exactly what we needed!

By the way this project was insane, Cisco and Softcat paired up to create something truly special, a smart eco building that delivers a punch!

Watch this space for the video drop.

Making the Hidden Visible

Wed, 14 Jan 2026 12:29:00 GMT

There are stories that shout, and stories that whisper. The work we did with Carers Trust sat firmly in the second category. Quiet lives. Heavy responsibility. Young people doing extraordinary things before most of us have even had our first coffee.

Carers Trust approached us with a deceptively simple brief: help them show what reasonable adjustments for young carers might look like in education. In practice, that meant something much harder. How do you make visible a group who are, by definition, hidden? How do you help teachers and education professionals understand the realities of young carers’ lives without blaming, shaming, or overwhelming people who are already stretched to breaking point?

This is exactly the kind of question that sits at the heart of what we do at Big Egg Films.

With, Not For

From the outset, this project demanded a co-production approach. We are not experts in the lived experience of young carers. Carers Trust are. More importantly, the young people themselves are.

So we worked with them, not by speaking for them. Young carers were supported to write the script. They directed the storyboard. They challenged our assumptions about what “normal” looks like when you are caring for adults, siblings, or both, before you even arrive at school.

That process matters. Especially when the subject is sensitive. Especially when the risk of getting it wrong is high. Ethical storytelling isn’t about polishing a message. It’s about listening long enough to understand what really needs to be said.

Why Animation?

Animation wasn’t a stylistic flourish. It was a safeguarding decision. A creative one. And a strategic one.

On a practical level, animation allows real stories to be told without revealing identities. No faces. No risk. No asking young people to publicly carry the weight of representation.

On a human level, animation creates a softer entry point into hard truths. The daily reality of a young carer can be bleak: disrupted sleep, emotional labour, physical care, responsibility far beyond their years. Animation doesn’t dilute that truth, but it makes it accessible. It “sweetens the pill” just enough that people can stay with the story long enough to really absorb it.

And crucially, animation allows us to show what is usually invisible. The morning before school. The caring that happens in kitchens and bedrooms. The quiet exhaustion that doesn’t show up in attendance data or behaviour reports.

Shifting Understanding, Not Assigning Blame

One of the biggest risks in projects like this is accidental accusation. Teachers are already under immense pressure. Telling them they need to “do more” without context helps no one.

This film wasn’t about calling anyone out. It was about calling people in.

By showing a day in the life of a young carer, the film reframes “barriers to learning”. Those barriers don’t begin in the classroom with a missing pencil or forgotten homework. They often begin hours earlier, at home, with responsibilities that most adults would struggle to carry.

When people understand that context, reasonable adjustments stop being “nice to have”. They become obvious. Necessary. Human.

Film as a Tool for Change

We talk a lot at Big Egg about film as a mechanism for change, not just communication. This project is a perfect example of why.

Teachers don’t need another ten-page document. They need something they can watch, quickly, that respects their time and intelligence while still showing the full reality of what young carers are navigating.

That’s where film, done well and done ethically, earns its place. It builds empathy without spectacle. It communicates complexity without overwhelming. It moves the needle quietly, but meaningfully.

Why This Matters to Us

Working with Carers Trust reminded us why we position ourselves as social value partners, not just content producers. Our role isn’t to arrive with answers. It’s to help organisations tell difficult stories in ways that are responsible, effective, and grounded in real lives.

When film is created carefully, collaboratively, and with respect for everyone involved, it becomes more than storytelling. It becomes infrastructure for understanding.

And in a world where everyone is stretched, that kind of understanding isn’t optional. It’s essential.

A New Christmas Story?

Tue, 02 Dec 2025 16:49:00 GMT

By Dr Nicola Harding, Producer at Big Egg Films

Every December, without fail, I sit down to watch the John Lewis Christmas advert with the kind of intensity normally reserved for academic peer review or trying to find the last parking space at Tesco. It’s a cultural ritual now. A national moment. A collective deep breath before the chaos of the season.

And usually, these adverts have a familiar flavour: whimsical, sentimental, charming… and geared ever so slightly toward the generation above us. The older millennials and Gen X crowd could appreciate them, sure, but they never quite felt like they were speaking to us. More like we were observers peering in on someone else’s emotional universe.

This year felt different. It felt like someone finally cracked open our memory box.

Why This One Lands

Part of it may be age; there’s a point where you suddenly realise nostalgia is no longer about sepia-toned childhoods, but about the worlds we built in our teens and twenties. The music. The messy houses. The ridiculous nights out. The friendships that glued us together until real life arrived, jobs, relationships, kids, heartbreak, responsibility, and rearranged everything.

But there’s something more democratic happening here too. Nostalgia isn’t usually class-neutral. A lot of British nostalgia is coded: the middle-class Christmases, the neat suburban lawns, the polished Snowman aesthetics.

This year’s advert? It’s different. It’s scruffier. Louder. More alive. It reflects the truth that for many of us who grew up working class, our most formative memories didn’t happen in picture-perfect living rooms. They happened in nightclubs, warehouses, fields at 3am, someone’s older cousin’s garage, wherever the music was loud enough that you could forget everything else. And a lot of us did have kids younger than the glossy lifestyle magazines assumed we would - which meant growing up while raising the next generation. It’s a specific kind of chaos that rarely makes it into mainstream advertising.

Yet here it is. On prime-time television. Wrapped in a story that hits you right in the soft, unexamined part of your chest.

Nostalgia as a Class Leveller

What fascinates me most is the levelling effect music and memory can have. A beat, a melody, a visual cue; it collapses class, geography, time, even identity. It’s democratic in the purest sense.

We all have versions of the same moments:

The night we felt invincible.
The song that rewired us.
The friend who pulled us back to the dancefloor.
The sudden, quiet realisation that adulthood had arrived whether or not we’d sent an RSVP.

Seeing that reflected in a big-brand Christmas advert is unusual. And telling.

When storytelling works, it doesn’t matter whether the narrative technically belongs to someone else. We project ourselves into it. We fill in the gaps. The story becomes a shared container where millions of private memories can coexist without contradiction.

This year’s John Lewis advert manages that rare thing: it gives everyone a road in. Those who grew up on indie discos, or jungle raves, or sticky-floored clubs. Those who had kids early. Those whose youth was vibrant and complicated, not pastel and polished. And those who simply recognise that tug of wanting to be both your old self and your new self at the same time.

Why This Matters for Creative Work

The most interesting part? This is still an advert. A brand message. A piece of marketing. And yet it’s stronger and more emotionally resonant than many full-length films trying to do the same thing.

That’s the craft. The alchemy.

Good storytelling doesn’t demand that people feel something - it simply makes space for something to rise. It doesn’t dictate the meaning. It offers the scaffolding and trusts us to build the rest.

And that’s why nostalgia is such a powerful tool. Not because it’s sentimental, but because it’s plural. It accommodates the many lives we’ve lived, the ones we’re trying to make sense of, and the ones we’ve quietly left behind.

For those of us working in creative fields, whether it’s filmmaking, research, music, or anything in between, this is a reminder of something important: people don’t connect with content. They connect with themselves inside the content. When you get nostalgia right, it becomes a mirror rather than a message.

A Final Thought

Maybe this year’s John Lewis advert feels made for us because, at last, our generation’s story is being treated as worthy of nostalgia. Not the curated “remember when” of catalogues and cosy firesides, but the real, messy, brilliant, lived-in nostalgia of growing up in a Britain that wasn’t always straightforward.

The kind with glitter under the nails, a half-warm WKD on the windowsill, the bass shaking your ribs - and a baby monitor on the bedside table a few years later.

That’s the beauty of storytelling done well. It meets you where you are, but it honours where you’ve been. It reminds you that your life, in all its chaos and contradiction, is worth telling.

And that’s something far more powerful than an advert has any right to be.

P.S

If you haven't seen the behind the scenes of making the advert.. please spend 90 sec's to have a watch.. its just as magical as the advert! https://www.youtube.com/watch?v=9hD9bt7b2Co

Merry Christmas from us all at Big Egg Films!

"Aren't Dreams Cool?"

Tue, 02 Dec 2025 10:29:00 GMT

By Adam Sheldon, Director

My five-year-old woke up early this morning and said, “Aren’t dreams cool?”

One of those perfect small-human moments that pulls the brakes on your adult brain and reminds you the world is far stranger, softer, and more astonishing than we give it credit for. Naturally, it sent me spiralling into the sort of half-serious, half-silly existential pondering you get before the first coffee: why do we dream? And why do they feel so damn real?

In the moment, a dream isn’t a dream. It’s Tesco, where [hypothetically] you are suddenly naked from the waist down. Or it’s you gently rocking your baby daughter to sleep… except she has the face of Gary from over the road. That one wasn’t hypothetical. And yes, it was deeply disturbing.

Dreams help us sort the chaos: the past, the worries, the what-ifs. A kind of overnight housekeeping for the soul. And as I was packing lunchboxes and trying not to think about Gary-baby, it hit me: that’s exactly what films and television do for us too.

They’re our collective daydreams.
A shared imagination.
A social story we tell ourselves.

When we watch a film, we get to step into lives we’ll never live. Be a murderer, an astronaut, a hero, or someone who follows a magical ring for ten hours without a single friend questioning their time-management skills. Cinema gives us consequence-free exploration; space to feel something, reconsider something, escape something, or discover something we didn’t know about our own lives.

It’s why we often leave the cinema feeling changed, even if we don’t have the words for it. The lights come up, the popcorn tub is empty, and suddenly the world feels… reassembled. Tilted slightly. Understood differently. Not because the film told us what to think, but because it nudged us into a new perspective - one we might not have given ourselves otherwise.

Films about affairs, revolutions, love, loss, misplaced babies with Gary’s face… they let us sit with realities we may never personally experience. Sometimes that brings comfort: My life isn’t so bad after all. Sometimes it sparks courage: Maybe things don’t have to stay the way they are. Sometimes it even stops us doing something truly unwise: Maybe I won’t murder someone today.

That’s the quiet power of storytelling.
It rearranges the mental furniture.
It gives us permission to dream while we’re awake.

And honestly, I think we need that more than ever. Not just for distraction, but to remind ourselves we’re capable of imagining something better, and then building it. Maybe that’s why I’ve ended up watching so many films about the birth of trade unions recently. There’s something stirring about seeing what humans can do when they organise, hope, and take action. I’m also rewatching The League of Gentlemen. I’ll let someone else interpret what that says about me.

If you’ve made it this far, thanks for indulging the early-morning brainworm. And if you’re in the mood for a powerful documentary about collective action and the grit of ordinary people, watch Harlan County, USA. It’s cinema vérité at its absolute best, and a proper call-to-action for anyone who believes stories can shift the world.

At Big Egg, that’s why we make films: not just to entertain, but to help people see differently, and dream a bit bigger while they’re wide awake.

Creativity, Empathy, and the Work of Changing Minds

Thu, 20 Nov 2025 07:30:00 GMT

People often ask how a criminologist ends up producing films. As if those two worlds belong on opposite sides of a map.

The truth is, they belong together.

My name is Dr Nicola Harding, I'm an academic by training and work as a Producer at Big Egg Films . My work has always circled around one central question: what makes people tick? Why do some people flourish while others fall through gaps that shouldn’t exist? Why do we keep building systems that misunderstand human behaviour, and how do we help people on the receiving end of that misunderstanding?

Over years of studying fraud, vulnerability, exploitation and resilience, one conclusion has become impossible to ignore. Data reveals patterns. Theory explains the mechanics. But stories, honest, human stories, are what shift hearts, minds, and sometimes entire institutions.

That’s where Big Egg Films comes in.

I joined as a bit of a different producer, one of Adam Sheldon's “good eggs,” which basically means I’m part of a slightly unusual gang of people who believe that creativity is a social intervention. We make films that don’t simply sit online - they open doors, reduce fear, dismantle stigma, and help people feel understood.

It’s storytelling as harm reduction. Creativity as strategy. Film as a bridge between people who might never otherwise meet.

Why film matters

Film is one of the most powerful tools we have for connection. You can hand someone a 50-page policy report, or you can create a two-minute film where a person with lived experience looks straight into the lens and says, “This is what it feels like.”

The difference is enormous.

Film bypasses the intellectual armour people wear. It lets emotion do the heavy lifting, while evidence quietly scaffolds the message. It brings nuance into spaces that normally flatten people into categories; victim, offender, vulnerable, resilient, risky, compliant.

Film puts the human back in the story.

What “films for good” actually look like

Let me give a few examples from the projects I'm involved with at Big Egg.

1. Accessibility films for stadiums and public spaces.

This is one of my favourite things we do at Big Egg. We create guided walk-through films that help neurodivergent fans, people with anxiety, and those who feel overwhelmed by crowds understand a space before they ever step foot inside it.

Viewers get to “arrive” at a a public venue, such as a stadium hours before a match, see the entrances, hear what the noise level will be like, and know exactly where the toilets, lifts, and quieter areas are. Often the guide is a member of staff with lived experience; someone who doesn’t just know the building, but understands how overwhelming it can be.

For some fans, this is the difference between attending and staying home. For some parents, it’s the difference between stress and joy. For some young people, it’s the difference between being excluded and belonging.

Film does that.

2. Lived-experience storytelling.

Big Egg has a way of capturing stories without exploiting them. I’ve seen Adam and the team sit with people who’ve endured things no one should face, and create films that hold their experiences with dignity rather than spectacle.

These films become training tools, empathy builders, strategic evidence for organisations trying to design safer systems. They help leaders understand what their own data often hides.

When someone explains how a fraudster groomed them, or how an anxiety-triggering environment shuts them out of everyday life, it lands differently than reading a policy brief.

3. Behaviour-change campaigns.

This is where my criminology background and Big Egg’s creative instincts meet in the middle. You can’t change behaviour by lecturing people. You change behaviour by helping people recognise themselves in a story.

We’ve worked on films that give people the confidence to avoid scams, that help people recognise coercive control, that quietly reshape how organisations think about risk, trust and vulnerability. These films sit in that sweet spot where narrative meets evidence - stories carrying the weight of real research.

Why this matters to me personally

My career has taken me through prisons, community projects, academic institutions, and government advisory roles. I’ve listened to people living at the sharp end of inequality, exclusion and harm. And I’ve seen how often harm grows in silence, in the gaps between what people experience and what the system thinks they experience.

Film closes that gap.

It gives people back their voice. It helps organisations see what they’re missing. It builds empathy where suspicion once lived. And it does something criminology can’t always do alone: it reaches people emotionally, instantly, and accessibly.

Working with Big Egg has shown me that creativity isn’t the opposite of rigour, it’s what makes rigour matter to real people. It’s the delivery mechanism for insight.

A good egg in the Big Egg basket

Collectively, we are all just “good eggs,” which makes me smile because it captures exactly what this team is about. No ego. No pretence. Just people who care about making things that help.

Adam and the Big Egg team aren’t chasing glossy perfection. They’re chasing truth. Humanity. Stories that make someone feel less alone or more understood.

It’s a strange little partnership: the criminologist and the filmmaker. But it works because we’re trying to solve the same problem - how to make the world a little easier, safer and more empathetic for the people living in it.

And maybe that’s the real point

Films for good aren’t about being worthy. They’re about being effective.

They help a frightened fan walk into a stadium for the first time. They help a policymaker finally understand the lived experience behind the data. They help a company stop a harmful pattern in its tracks. They help people who’ve been silenced step into the light.

That’s why I do this work. That’s why I believe in it. And that’s why I’ll keep making films that don’t just inform, but transform.

Creativity, in the right hands, is a tool for justice. And that’s the kind of filmmaking I want to be part of.

Telling difficult stories

Mon, 13 Oct 2025 08:07:00 GMT

When you make films with young people about topics like suicide, racism, or addiction, there’s no room for carelessness. The stakes are real. Behind every camera is a person trusting you with their story, and sometimes, with their safety.

Adam Sheldon, Director at Big Egg Films, talks about how his team handles that responsibility. For nearly 15 years, Big Egg has worked with charities and community groups to bring lived experiences to life through film - often from people who’ve been marginalised, misrepresented, or simply unheard.

Adam’s stories range from documentaries on county lines to mental health and suicide, body dysmorphia, homelessness, and coercive relationships among young people. Heavy subjects, handled with careful hands. His first priority, he told me, isn’t the creative brief - it’s the environment.

“Before we get to the creative output,” Adam said, “the environment we create and the trust we create is absolutely paramount. That’s genuine, otherwise we can’t do it.”

Big Egg’s sets are designed as safe spaces not performative ones. That means thinking carefully about identity, consent, and consequence. A story shared on film is permanent. As Adam put it: once it’s out there, you can’t put it back in the box.

When working on projects about homelessness or exploitation, for example, showing someone’s face or voice could put them at risk. So Big Egg uses creative tools, such as animation, silhouettes, ambient voice, abstraction, to protect contributors while keeping their truth intact. Constraints like these, Adam says, often drive the best creativity.

“If someone said, ‘Here’s £20 million, make what you want,’ we’d probably get stuck. The best creative decisions come from constraints.”

That philosophy also applies to one of the hardest subjects of all - suicide. Big Egg’s approach is to acknowledge it honestly but sensitively, without feeding harmful ideas or voyeurism. It’s a fine balance between realism and responsibility, especially when your audience includes children as young as ten.

"We can focus on those it affects, make people feel seen. We can have that conversation safely.”

It’s a sharp contrast to the media world Adam left behind. After years in commercial television, he grew disillusioned by the lack of duty of care, “the bad taste you get when people’s lives are turned into entertainment.” That experience shaped the ethos of Big Egg: to use film for good.

Big Egg now gives placements and training to young people from underrepresented backgrounds, those who haven’t thrived in mainstream education, or who face barriers to creative careers. As Adam puts it, “We can’t just talk about inclusion; we’ve got to hire it.”

The company’s work with charities has also reshaped how they listen. Adam spoke about learning from Crisis Classroom, a charity that set up pop-up learning spaces in refugee camps. Their idea began not with a plan, but with observation: people were queuing. So they built classrooms in queues.

“That stuck with me,” Adam said. “We often assume we know what people need. But until we really listen, we don’t know the solution. Storytelling works the same way - it’s about listening first.”

And that’s what sets Big Egg apart. Their films aren’t just about people, they’re made with them. Every project is a collaboration that balances truth, dignity, and creative care.

In a world that rewards clickbait and spectacle, it’s rare to find filmmakers who slow down long enough to ask: should we?

Big Egg’s answer is yes - but only if it’s safe, truthful, and done for good.

If you’re a charity, school, or organisation working with sensitive subjects, or you simply want to tell real stories with care, get in touch with Big Egg Films. Their work shows that storytelling can be brave and responsible, creative and compassionate. Visit bigeggfilms.com to see how they turn complex, human stories into films that do good.

Whitechapel at 50

Fri, 26 Sep 2025 07:38:00 GMT

2025 marks the 50th year of the Whitechapel Centre, Liverpool’s leading homeless and housing charity. Half a century of opening doors, offering beds, serving meals, and crucially, listening. It’s a milestone, but not one they’re eager to celebrate. As the team put it, “We wish we weren’t needed anymore.”

Sadly, the truth is the opposite. Whitechapel’s work is more urgent than ever. Rising costs of living, fragile jobs, and a harsh housing market mean more people than ever teeter on the edge of homelessness.

We spoke to Adam Sheldon, Director at Big Egg Films, about the mini-documentary he created with the Whitechapel Centre, the important work they do, and how film can play a crucial role in social change.

Beyond the stereotypes

When many think of homelessness, they picture the man sleeping rough in a city doorway. Whitechapel does support people on the streets - but their work reaches much further. Families, young people, and those whose homes are unsafe all find help here. Much of it is preventative: stepping in before a crisis becomes catastrophic.

Still, Whitechapel is best known for its outreach teams. The people who walk Liverpool’s streets at night, offering help where it’s needed most. For their 50th year, we decided that’s where the story should begin. Not polished or packaged, but documentary-style, warts and all - showing lives being saved in real time.

Why film matters

"Homelessness is easy to look past. Walk through the city centre and the sight of rough sleepers can fade into the background - like street furniture. Not because people don’t care, but because life feels overwhelming enough"

Film cuts through that filter. By bringing people’s stories into focus, it asks us to see the humans we might otherwise ignore.

"Film allows us to be on the front line of the problem of homelessness. It's is as close as we can get to walking in the shoes of someone who is about to embark on their first night sleeping rough, or feel the emotions of a family as they have nowhere to call 'home'. It is by capturing these moments sensitively that we can effecitively call for meaningful action".

And it doesn’t just ask for donations. Sometimes awareness is the first act of solidarity. Recognising someone as human. Offering a smile. Donating clothes. Understanding that none of us are as far away from homelessness as we’d like to think. As one outreach worker reminded us, “You’re only ever a few paychecks away."

A story from the streets

One of the moments captured in the film shows just how quickly life can unravel. A 34-year-old man, freshly arrived in Liverpool, was spotted pitching a brand-new tent outside the library. He thought it would be safe - well-lit, with CCTV. What he didn’t know was how vulnerable that spot made him.

"As a film maker, I was sturck by the openness and honesty in how he told his story. The gravity of the situation that was unfolding before me demonstrated just how quickly anyone can become one of the city's forgotten citizens. Thankfully, the work I saw the Whitechapel do meant that he wasnt forgotten. But what about the others who aren't as lucky?"

Whitechapel’s team intervened. That very night, they helped him into shelter and began planning his next steps. Only the year before, he’d been earning £200 a day as a roofer, driving a Mercedes. Now, suddenly, he was homeless. The outreach team caught him on his first night - the difference between a plan and a downward spiral.

Seeing the human

This is what Whitechapel has always done: remind us that homelessness is not a choice. It is circumstance, often brutal and sudden. The charity insists on seeing the person first: someone’s brother, someone’s father, someone who needs safety and dignity.

"Bearing whitness to the Whitechapels work with Russell and Mike reminded me of excatly why I became a film maker. Their attention to detail, non-judgemental compassion, and humble acts of humanity are the story that I wanted to do justice with this film."

Bringing the work to the public

To mark the anniversary, the Open Eye Gallery in Liverpool is hosting a special exhibition. Visitors will see Whitechapel’s story told through film, photographs, and memories collected over five decades. The aim isn’t to celebrate the passage of time, but to shine a light on resilience, transformation, and the urgent need to keep going.

Big Egg Films is proud to have partnered with Whitechapel to bring these stories to life. Because the best way to understand their work isn’t through statistics or annual reports - it’s through the people whose lives have been changed. And sometimes saved.

Watch the trailer and visit Open Eye Gallery to see the full film from the 25th September to 19th October. For more information visit: https://www.whitechapelcentre.co.uk/

Bringing Community to Life on Film

Tue, 08 Jul 2025 09:23:00 GMT

At the heart of Bolton, Markland Hill Racquets Club has long stood as a beacon of community spirit, active living, and family-friendly values. With a mission to offer affordable, inclusive racket sports and social opportunities for all—from curious four-year-olds to seasoned players in their 80s—the club knew it had a story worth telling. What they needed was a partner who could help them capture the essence of what makes Markland Hill special.

A Shared Vision

From the start, the collaboration between Markland Hill RacquetsClub and Big Egg Films was more than just about creating a promotional video—we were blown away by the community we witnessed and felt the pressure to try and show this!

The club isn’t just a place to play tennis or squash; it’s a place where friendships are formed, where families bond, and where everyone, regardless of background or skill level, is welcome.

Capturing Community in Motion

We hope the resulting film is a vibrant, sincere snapshot of life at Markland Hill. Through interviews and candid footage, viewers are taken on a journey through the club’s facilities and ethos.

Graham reminds us that the club exists “for the people of Bolton and beyond.” It’s not just a sports venue—it’s a community hub where members can relax, catch up with friends, and feel truly at home.

Phillipa Coach and Manager, at Markland Hill, highlights the incredible variety of sports and activities on offer—tennis, squash, badminton, pickleball, table tennis—as well as a calendar full of social events. It’s a

What did they really think?

Vice Chairman of the club, Graham Holt, had this to say about the experience:

“Big Egg Films are amazing. The attention to detail is incredible but most of all, they care deeply about their work. The result is a beautifully crafted production.”

More Than a Club

Markland Hill Racquets Club is more than courts and games. It’s a living, breathing space where individuals grow, families connect, and a sense of belonging thrives. Definitely worth checking out if you are in the area!

Diary of a Big Egg Intern

Wed, 02 Jul 2025 09:40:00 GMT

This blog is Brooke’s reflection on her week of work experience with Big Egg Films. At just 15, Brooke joined the team at our Albert Dock studio to learn the ropes of filmmaking, from research and client meetings to camera work, editing, and even flying a drone. What follows is her own account - an honest, funny, and heart-warming snapshot of life inside Big Egg, as seen through the eyes of the next generation of storytellers.

Hi!! I'm Brooke, I'm 15 years old and I am currently doing work experience with Big Egg Films.

Although today is only my second day, I have loved every part of working so far. Yesterday, I met Big Egg and they were really welcoming and made me feel relaxed. As i didn't know what to expect, when I stepped into the building I was pleasantly surprised by the design and aesthetics of the building, which is located in the Albert Dock, and how friendly all the clockwise staff are. I was also made aware of an on-going mystery at the office...

The previous Friday, Adam had come into work like usual, and was met with an ominous note under his mouse, saying "STOP EATING MY YOGURHTS!".Yes. They did in fact spell it wrong! At their big age! But the thing is as well, Adam is waiting for a diagnosis of being lactose intolerant. So, I think we would know if he had eaten any yoghurts....Anyway, to start off our day, we went into a meeting with one of their new clients, The Paul Lavelle Foundation, and we discussed all the different key factors and themes of an upcoming short film Big Egg are making with them, to be made in Liverpool, about coercive control in young people, that is in the process of establishment.

The Paul Lavelle Foundation is a charity that was founded in honour of Paul Lavelle, who passed away tragically in a domestic abuse incident in 2017. The charity works to educate people about healthy relationships, support male victims and survivors and increase awareness of male domestic abuse. They also provide workshops on healthy relationships, a drop-in service, and mental health services to support anyone they can. So, as I mentioned we were discussing key factors earlier on in the day, it had been decided that 'healthy relationships' was our key and main focus, so basically what its about, for the film.

Before the meeting, we did preparation using the website 'Miro', going into depth of different factors such as themes, kit, costume, cast+crew ,visuals, etc, to help our organisation. We also created a small mood board to give us a visual idea of the tone we want to portray throughout filming. This really helped throughout the meeting, as we were on a zoom call to the script writer, Amy, and we shared all of our points with her and Sharne, who works for The PLF (Paul Lavelle Foundation). They both responded positively to our points and contributed their own as well. We also received help from one of my school teachers, as he came to check in on me to report back to the school that I was safe and all that other boring stuff, and he made his own good contributions from a teacher's perspective. Overall, we had a very productive first meeting that helped but everything into perspective.

For a summary of my first day, I was a junior researcher and gave my input on experiences I've had and witnessed as a teenage girl on which fitted with the structure of the film, and gotten used to the environment and really enjoyed myself!

To start off my second day, I started writing this blog and took the lovely picture above, then I was taught the basics of camera work, mainly zooming in and out and focus points, and was given the opportunity to go off by myself and shoot some nice looking things around the office and area. After I had done that, I came back to the office and was familiarised with editing and the editing software, Premier Pro. I had done mild editing in the past and it had really helped me create the video. My favourite thing about the video is when the music made a water drop sound effect, so I synced it up with the bottle pouring, which is also my favourite shot. The video is below!!

Whilst I was filming, i overheard a few people talking about Adam's yoghurt situation, which made me laugh, because no one knows who did it at all and according to Adam, he has asked the usual suspects and it isn't then, which causes concern for him. He had multiple people asking him about it too, and he has been receiving funny looks from people he isn't too familiar with, as he is just known as the yoghurt stealer now. So, I still don't know what on earth is going on but I found it very funny and so did he!

For my last day, I've started by finishing this blog and had my, probably, 17th hot chocolate. They are seriously so nice and it makes me look really professional with the coffee cup. Its stupid, I know. But a definite random start to my morning was a lovely surprise of a new note on Adam's desk, but attached to a yoghurt too, reading,"NO NEED TO ROB ANYONES YOGHURT ANYMORE... Thank you". As you could guess, Adam was appalled as to who is carrying it on. But, it turns out it is a different person and it is just a wind up, which reassured Adam but has brought him back to square 1. Still no clue who's done it. Who ever has is brilliant.

To finish off my last day, I flew a drone!!! It was quite scary and definitely a learning experience, because who knew seagulls were so smart? They're major kick offs though, they were charging at and hitting the drone, it was like a game, but it actually had consequences... We got some really good shots of the dock and around Liverpool One!

It was a great end to my work experience.

Lights, Camera, Opportunity

Mon, 31 Mar 2025 11:52:00 GMT

At Big Egg Films, we are privileged to collaborate on projects that make a real difference. When Orchard Hill College approached us in February to film a project showcasing their incredible work, we knew it was something special. What we witnessed during the shoot was nothing short of inspiring—a dedicated team of educators, therapists, and specialists working together to create life-changing opportunities for their students. Watch the video here

A College Like No Other

Orchard Hill College is not just an educational institution; it’s a place where students with a range of disabilities are given the tailored support they need to thrive. The college’s Integrated Service Team, a network of specialist staff including therapists, nurses, and educators, works closely to ensure that each student receives a curriculum suited to their individual needs and interests. This approach allows students to explore subjects they are passionate about while receiving the personal care and guidance necessary to help them succeed.

During the film shoot, we saw firsthand how this unique system empowers students. Whether it was through creative arts, vocational training, or specialist therapy sessions, the staff at Orchard Hill College were constantly adapting their approach to bring out the best in every student. Their dedication was evident in every interaction; encouraging, supporting, and celebrating even the smallest achievements.

Transforming Futures

One of the most powerful moments of the shoot came when we spoke with ex-students who have since gone on to find fulfilling careers. Their success stories are a testament to the incredible work being done at Orchard Hill College. From hospitality to creative industries, these students have entered workplaces that align with their ambitions, thanks to the training and support they received at the college.

One former student we interviewed shared how the hands-on skills and confidence gained at Orchard Hill led to a career in catering. These are not just jobs—they are opportunities that provide independence, purpose, and a future built on personal strengths. Behind each of these success stories are the committed staff members who believed in their potential and worked tirelessly to help them achieve their goals.

Beyond the Classroom: A Holistic Approach

Education at Orchard Hill College goes far beyond academic learning. The college takes a holistic approach, integrating social and health aspects into daily student life.

We filmed at local gym facilities, where staff take students to engage in physical activities tailored to their abilities, promoting both mental and physical well-being. It was clear from our time there that the staff aren’t just teaching; they are creating a sense of belonging, confidence, and joy in their students’ lives.

A Shared Ethos

At Big Egg Films, we strive to create content that supports charities, educational institutions, and ethos-driven projects. We do not take this responsibility lightly. Telling the stories of people and organisations making a real impact is at the heart of what we do, and working with Orchard Hill College was a perfect reflection of our mission.

Seeing the passion and care that the college staff put into their work reaffirmed why we believe in the power of film to amplify these important stories. It’s not just about producing high-quality content - it’s about showcasing the dedication, effort, and love that go into shaping futures.

Opening Doors, Changing Lives

Orchard Hill College is more than a place of learning, it’s a gateway to opportunity. It’s a place where students who may not have had a fair chance elsewhere are given the tools, support, and belief to reach their potential. Their staff go above and beyond every single day, and the impact of their work is evident in the lives they help shape.

We left the film shoot feeling inspired and grateful to have had the chance to tell this story. It was a reminder that with the right support, the right people, and the right environment, every individual can achieve something extraordinary. Orchard Hill College is proof of that.

To learn more about the incredible work they do, visit their website and discover how they are changing lives.. one student at a time.

Watch their film here https://vimeo.com/1065839119

The 'Adolescence & Post office effect'

Thu, 27 Mar 2025 15:00:00 GMT

The recent global success of Adolescence and, before that, ITV’s #MrBatesvsThePostOffice prove something I’ve long believed: powerful storytelling cuts through the noise. When done right, drama doesn’t just entertain, it shifts public perception, sparks outrage, and leads to real-world change.

We live in an era of AI-generated content and political narratives that sideline expertise in favour of "alternative truths." In this landscape, authentic storytelling isn’t just wanted, it’s needed. People have a built-in BS detector, and they crave narratives that are authentic, raw, and human.

Who would have thought that authenticity would become our greatest storytelling superpower?

As a storyteller, I’ve seen firsthand how the right narrative, told in the right way, can challenge injustice, inspire action, and reshape the way we see the world. So, the question isn’t whether storytelling can create change, it’s how we use it to do so.

How do you see storytelling shaping the world around us?

Here's a throw back to something we made for BHT Sussex a fantastic homeless charity based in Brighton

https://vimeo.com/310742546?turnstile=0.Wfs2rPAQr86li_njAE9Pyk_q3w4u7rt5yN4LOMCBAwW_3iTyBC3NKoaDJQ1dgpgLeF9hc_Q9DJuFXcxwQRUPbqHQ1B6UyTe5lMasXBpbW_Lg2C845jZkQ3mg-NntHeNOrl9sZJE-H4lzPtVB222kf7Fno0OeEk-aNECJ4pOnbxR9NzuNzSjeGI_hyREythLMvC6XvQLapN68h4F4r0HOKNP89veXZ9tH3jbxbl0Lr3GZYPPeKTT9qqqda4RHwz11w9e3lvIPBgu8a2uWSgSRv5sN9bfPVOFvVtlHqKHDahGZeSHiiLjzxmIS8lqjMiAwFO95h-s7w_iTEJ5rRH8KdxRXLzqvTPmrAoYQtUiD0CrZoSs-tyjdIw14WO-U0lohOsMyKnJTyzGqvHjMubceFjkljcIdy_PkwHNPbVqseLjRqC_bYrkJKWYOlmFF2c061XEbl-m8yMcSYkPDhqKtkufdb5Olh2CmDiXhVAqxaC4Da7X0g0DoQr5N61A2ZWBjDlaIrrvhzXncXiPKftXeAv8kaoeF6SpX9jmveACeYF9A-9K8tmSb3OhbIZjxuMBQwvHT9eT5GTuIFUWQu9Ir-bl1BZYOkv0xC97mIfNM0rkHP5qTPKnaNYA-vD7auiEJQ8Yq8H8tAxtnenF0BJPfTcqFFxI1xl6hke9q0jKLIza-WnuoK0JdIj33RL_0Y-hnHw6h6DiF2ze3QfgyOfy3gA_WwoxLS_K2QbmQ77MYG4HnHVaN81D9quoL3B4HqLo9wCUxsp7kO_EL9sVWJW62gmcN9UWxpkaAz_s8JH7zjSpFJfLrfgGfJ1JquwNGDSvmcBpVs1gfgFWdfxx0uyp-1HVOSKQgyNwBEL0aqoJo2oa_ETS-U34Ph-YQt6JFBY4Y.q3WQG0MHre16EQOvZehW2w.0bf0630cee1e9cb0b7418b91772dac8a8b126ff04da8ab98129bb3e8ec275723

Piing shoot

Mon, 19 Aug 2024 10:30:00 GMT

We loved finishing a recent project with Piing. Piing make super cool games for crowds in big arenas, stadiums or events and the crowd can play on their phones against each other...so much fun!

Here's what they say "arcade games for 30 to 100,000 players that everyone can play, for stadiums, events, anywhere with a competition-loving crowd. Our games bring a new dimension to downtime, fire up fanzones and energise events, all through a smartphone and a big screen"

We got to attend the semi-finals at the AO arena in Manchester, to witness a beer spilling, heart warming, scream from the bottom of your belly, game where we beat The Netherlands.

We were tasked with capturing how the easy it is for the audience to interact with the game play, but more importantly how much fun can be had.

Here's what Piing said about us "Big Egg did a great promo video for us, capturing footage at an event and producing some top quality output. Everything was on time, amends were efficiently done and the whole job was very professionally handled." Ed Baldry, Chief Creative

Here's the video we made.

If you want to entertain your audience, please contact them here.

Making venues more accessible

Mon, 19 Aug 2024 09:23:00 GMT

As we mentioned earlier in the year, we’ve been working alongside Oska Bright and Carousel in a push to make venues more accessible to wider audiences, especially those who identify as Neurodiverse.

Part of this meant that we got to work with the fantasticHOME in Manchester. HOME is an independent cinema, theatre and art gallery in Manchester city centre. We spent time in the venue creating a ticket-to-seat video, in the hopes of illustrating the steps needed to broaden accessibility for audiences. We are super proud to show you the finished product!

Home Video

Curious about HOME’s other accessibility improvements? You can read their page to see what other facilities they have in place.

Not only this, we also spent time working alongside the Barbican in London, who have also pushed forward on accessibility for audiences.

“We're committed to taking steps to address any inequalities in the services and facilities we offer and will continue to demonstrate an ongoing commitment to improving accessibility by offering an outstanding welcome to everyone.” (Barbican, 2024). Read their full accessibility page here.

Similarly to HOME, we spent time creating a walkthrough video to show customers what they should expect when booking a trip to the venue. We wanted to highlight one of their “relaxed screenings” which are showings of films in a less intense environment, from more lighting to less noise and freedom to move around. Take a look below to see how Connor got on when booking for Barbie Oppenheimer.

Barbican Video

Are you looking to make your venue more accessible? Through our continued work with Carousel and Oska Bright, we have been able to deliver videos like the above in an ongoing effort to make public venues more accessible to a wider spectrum of audiences, including those who are neurodiverse and/or D/disabled.

We have seen the positive impact of these videos already, and if you think your venue would benefit from the training needed to increase accessibility for your venue, or if you are looking to have a video made for your venue, get in touch.

Until next time,

Big Egg Films

Think Animation for Corporate Storytelling

Tue, 23 Jul 2024 08:07:00 GMT

Animation deserves a little myth-busting. Somewhere along the way, people started to associate animation with children’s television and playful characters, as if the moment a story becomes illustrated it stops being serious. The truth is far richer. Animation is one of the most precise, powerful storytelling tools available to organisations, especially when they’re tackling complex ideas, sensitive topics or systems that are difficult to visualise with traditional film. Good animation doesn’t dilute a message; it sharpens it.

For corporate stories, animation can cut through noise in ways live-action can’t. It lets you turn data into something emotional and memorable. It can take abstract concepts, like housing sensors, behavioural insights or safety systems, and make them visual, intuitive and human. When you’re dealing with technical information, animation becomes a translator. It carries detail without overwhelming people. It simplifies without dumbing down. And it allows a brand to speak clearly, concisely and beautifully, no matter how complex the subject.

And animation doesn’t have to be playful. It can be bold, elegant, atmospheric, even cinematic. It gives companies creative freedom without compromising seriousness or credibility. Think of it as design-led storytelling: clean lines, thoughtful pacing, subtle textures, and a tone that reflects who you are, not what the medium is stereotyped to be. With the right creative hand, animation becomes a powerful asset for corporate communication - modern, engaging and deeply professional.

Which brings us to the project we’ve just completed with iOpt.

At Big Egg, we love working with companies doing good things in the world, and this collaboration is one we’re genuinely proud of. iOpt are doing vital work, helping tenants, landlords and housing associations use technology to understand the condition of their properties - identifying issues like damp, mould and fuel poverty so that people can be kept safe, warm and well.

Our job was to take a highly technical service and make it clear, human and compelling. Animation was the perfect medium for that.

You can watch the animation here:
https://vimeo.com/988785470/c770fbf8d0?fl=pl&fe=sh

Emma Blackmore, Head of Client Engagement, shared this after launch:

"We love this, watching people stop and look at it and take it at events has been brilliant. Such a slick little animation that we can build on. Biggest thing from us was you took the shortest of brief from us and hit the nail on the head first time. Thank you."

That’s the power of animation when it’s taken seriously: it communicates quickly, it holds attention, and it helps people truly understand what a company does.

If you’d like to explore how animation could help tell your organisation’s story, whether technical, operational, or deeply human, we’d love to chat.

Back on set with iMechE

Mon, 13 May 2024 13:29:00 GMT

Studio set at Phos Media

We are thrilled to be back on set working alongside iMechE at PHOS MEDIA photography studio in Birmingham.

Smile into the lens!!!

The eggs massive!

If you need a quick refresher on IMechE, they are the Institution of Mechanical Engineers who are currently recruiting ambassadors to help run workshops and are focussed on people from underrepresented backgrounds in order to improve diversity in the engineering sector.

Framing up the Egg

Pressing buttons and looking busy!

Looking sharp!

This time we were capturing videos in order to show people, specificially those working as engineers, the benefits of being an IMechE ambassador, we wanted to capture their commitment to "creating an inclusive culture where our members and employees feel valued, develop a sense of belonging and can thrive" (iMechE, 2024).

We were joined on the shoot by Simon Hyde, who took some incredible images:

Adam, Director, says:

“We are over the moon with the quality of the photos. Simon Hyde and Co. really took the time to understand us as a company and we couldn’t be happier with the results. We are looking forward to working with Simon Hyde & Co again in the future and definitely recommend them to anyone looking to show a more personal side of your business with a professional polish on top”

Moving as one!

To find out more about what Big Egg could offer you or if you have any questions feel free to email info@bigeggfilms.com.
Or if you’re interested in working with us, feel free to contact us by calling 07757 765547.
Finally, stay up to date with our various activities by joining our mailing list and connect with us on social media by searching @bigeggfilms or subscribe to our mailing list.

The making of the 'Walk the Chalk' Doco

Thu, 04 Apr 2024 10:09:00 GMT

The filming of the Walk the Chalk Documentary

What a project!

Here's a first cut of trailer...

In 2023 we were commissioned by the Lewes Depot Cinema, to create a feature length doco following LYT's 'Walk the Chalk' heritage art festival. This was based in the insanely beautiful Seven Sisters, where 15,000 people attended.

Thanks to Alex Franklin Photography

In the documentary we follow the journey of an events crew (led by Phil Rose); and the team, mostly made up of young people from Lewes; who have various complex physical and emotional needs. We see them battle through all sorts of barriers in order to get this event on, including bureaucracy, crazy logistics of building art pieces on a cliff edge and of course Storm Betty!

The crew on opening day!

Thanks to Alex Franklin Photography

It took us 27 days of shooting, including on site, re-creation scenes, and filming on a boat (thanks Sussex boat trips!) to truly capture our story. The Documentary strands include exploring the history of the world famous spot. (Did you know Harry Potter and Bednobs and broomsticks was filmed here among others?)

Smugglers recreation shoot, shout to Gladrags for costumes!

With a focus on the Canadian solders who were sadly killed here in WW2 and the disgusting treatment of the black solders that were here in WW1.

We also focussed on LYT's aims to make the site more accessible, following lots of research that suggest local people are not accessing the site. The film opens speaking to local older people who have never been to the site or haven't accessed the site for over 50 years. We these people go up to the site, using electric buggies, and the effects this has on them. This was such a joy to see.

Thanks to Alex Franklin Photography

The last, most important strand for us is capturing the community that is formed whilst this event was on, and what it means to have a community or no to have one.

We have sent over 60 days editing this, but hope people can enjoy and celebrate the work of the crew and over 250 volunteers!

To book your ticket at Lewes depot for the 13th and 14th of Aril click here

How is the Brighton Housing Trust campaign video doing?

Mon, 29 Jan 2024 13:20:00 GMT

Continuing Tradition

At the end of 2023 Big Egg was thrilled to once again donate a video to Brighton Housing Trust to be part of their winter appeal. Every year since 2017 we have worked alongside them to create a video that encapsulates the many different ways (and people) that homelessness affects.

This year we focussed on the sudden-ness of homelessness and the impact that has on a person. Using illustration and animation we were able to tell the story of someone who was helped by First Base to get back on their feet, taken from an interview held prior to its creation.

A Massive Success

Today we are thrilled to share that this has been the most successful annual appeal to date, helping raise over £34,000 for Brighton Housing Trust. A massive thank you to anyone who has helped achieve this.

Feedback on the film includes: "I just watched this year’s Christmas appeal video and wanted to say how fantastic it is! It’s really strong this year, focussing on the practical support First Base provides and the real-life effect it has had on someone accessing the service. It humanises the experience of homelessness and the root causes which unfortunately could happen to any of us. And the presentation/art style is great too. Really powerful appeal!

Wondering if you can still help? Of course you can. While this appeal closes in a few days (the end of January 2024), Brighton Housing Trust are always accepting donations and offers of support in the constant fight against homelessness. You can find out more ways to help by visiting their website.

First Base centre, taken from the 2022 video.

Supporting Oska Bright’s efforts to make venues more accessible

Mon, 22 Jan 2024 13:30:00 GMT

Welcome Back
Over the past few years we’ve been amazed by the work that Oska Bright does to showcase the talent of learning disabled filmmakers and help level the playing fields in our industry. From the Oska Bright Film Festival to Carousel TV and the Welcome Back Programme, they are constantly finding ways to champion inspiring individuals.

We’ve been excitedly working with them to develop a series of videos as part of Welcome Back, a training programme that aims to support cinemas and cultural venues to think about how they welcome and support learning disabled artists. Oska Bright has partnered with five venues to form a network that has an open discussion on learning disabled artists and the ways to make their spaces more inclusive. We were commissioned to help make videos to demonstrate this effort.

As part of these videos we headed to HOME Manchester and The Barbican Cinema to interview some of those involved and find out how Welcome Back has helped them.

A screenshot from the Welcome Back vid. More to come soon...

Adam from Big Egg said:

“Oska Bright and Carousel are always an inspiration to work with and it’s such a pleasure to be a part of something that's making real, grassroots changes. By working on this brilliant project, it’s helped us learn that there can be many barriers to cultural venues that stop certain sections of the audience being able to enjoy them, or even enter them in the first place. Thanks to the Barbican London and HOME in Manchester for welcoming us into your beautiful spaces!”

Lizzie from Carousel said:

“Big Egg's inclusive approach to filmmaking and the relationship we know they have with our artists made them the perfect partners for these commissions. At Oska Bright, we're committed to making cultural venues more inclusive so that learning disabled and autistic people feel welcome and have ownership of these spaces. The results of Big Egg's hard work are incredible, showcasing learning disabled people right at the heart of some of the most significant cultural venues in the UK. “

As ever we are thankful to Oska Bright for working with us. In the meantime you can experience the wonders of Carousel TV, which released its third series last year! Watch the series premiere now.

To find out more about Welcome Back and to download a free resource pack check out Oska Bright’s blog.

The HOME front desk - the Box Office

Big Egg Films & CACE

Wed, 01 Nov 2023 10:00:00 GMT

Recently Big Egg have been busy working alongside CACE (Collaboration against Child Exploitation) to produce a video that highlights and exposes child sexual exploitation. It was essential to us that we not only help the efforts but that we did so with respect.

Adam said: “This was such an emotive project and one that was important for us as a company to get right. CACE does such important work supporting families who have seen the adverse effects of county lines and sexual exploitation, and in fact any form of child exploitation."

He continued: "We were blown away by the courage of the parents we interviewed who shared their lived experiences. They told us harrowing accounts of things they went through as families, all in the aid of potentially helping other parents/families recognise the signs and preemptively help their loved ones before it gets too serious, but also know there's support for them at CACE. "

Finishing with: "Our job at Big Egg was about creating an environment where they felt safe to share, and for them and CACE to know that we will do our best to make these stories as compelling and impactful; as possible, using a mixture of honest interviews interjected with young actors, I think really worked well”

Josephine from CACE said: "Adam and the team were amazing! So easy to work with, great communication and on film day made you feel so relaxed and comfortable! We are really happy with the results and would highly recommend!!!"

You can now watch the full video above. To learn more about CACE, the work they do and how you can help, visit their website.

What are Big Egg cracking on with? Updates for October 2023

Wed, 18 Oct 2023 00:01:00 GMT

It’s been a busy few months here at Big Egg, so let’s take some time to have a quick look back at a handful of things we’ve been cooking up…

A wrap on Walk The Chalk

Alongside LYT Productions and The Depot Cinema Lewes we have been developing a documentary capturing Walk The Chalk, a community-centred event with stunning art installations, free workshops and guided tours. It was an incredible 6 months of work and we spoke to and experienced fantastic sculptures. Now it’s on to the edit…

Campaigning for CACE

Another huge project for us recently has been our work with CACE (Collaboration Against Child Exploitation) East Sussex. This project covered the important issue of Child sexual exploitation, and it was essential to us that we not only help the efforts but that we did so with respect. Adam said: “This was such an emotive project and one that was important for us as a company to get right. CACE does such important work supporting families who have seen the adverse effects of county lines and sexual exploitation, and in fact any form of child exploitation. We were blown away by the courage of the parents we interviewed who shared their lived experiences. They told us harrowing accounts of things they went through as families, all in the aid of potentially helping other parents/families recognise the signs and preemptively help their loved ones before it gets too serious, but also know there's support for them at CACE. Our job at Big Egg was about creating an environment where they felt safe to share, and for them and CACE to know that we will do our best to make these stories as compelling and impactful; as possible, using a mixture of honest interviews interjected with young actors, I think really worked well”

Carousel TV

We have loved working with the brilliant Carousel on their latest Episode for TV. The filming sessions are brimming with talent from the artists involved, and this time it has involved an incredible amount of greenscreen (all filmed at the university Of Brighton), if you’re a ghostbuster fan you will really love this!

South East Dance’s new commission, Skydiving

Skydiving is a beautiful performance for ages 3-5 years which premiered in October, we had such a fun time filming their trailer which you can check out below! Skydiver returns this December at The Dance Space.

Wanna check out the show for yourself? Check out their tour dates here.

Feeling bejewelled with Brighton Ruby

Our final update for now is our recent shoots with Brighton Ruby. Zara and Meg, two previous Big Egg interns, joined us on set too, except this time they were paid freelancers! Both of them were a fantastic help and we’re looking forward to continuing watching their filmmaking develop.

With that, we’re all up to speed. To stay up to date with everything at the Egg you can drop us a follow on Instagram (we have more puns there too).

Until next time,

Big Egg Films