Based in Los Angeles, Biscuit Filmworks enjoys the entitlement of being a full-service production firm that stands on behalf of a diverse collection of film directors serving a diverse collection of esteemed clients from across the globe. Founded in 2000, the company has seen itself spend the last few decades earning the global reputation for being smart, conceptual in terms of its production and being conscious of its clients’ needs. For these reasons, the company has seen itself boasting of a number if awards that includes DGA, CANNES and AICP.
Biscuit Filmworks is a company that finds itself standing in contrast to a number of tendencies in the modern commercial places in Los Angeles. The project was a brain child of Donaldson and Shubin and their client who was looking forward to designing a space that looked more modest, broken in and forgiving. This was to be a place where people would make comfortable creative works.
In terms of professional production, Biscuit Filmworks is structured into live action section, editorial, visual effects department, experimental, VR and Creative design department, design and animation department and tabletop and product section. The editorial section is comprised of the Rock Paper Scissors that edit the world’s top studios, advertisers and directors. The visual effects department on the other hand is comprised of the A52 that is largely a boutique for visual effects, a studio situated in Santa Monica, California. It was established in 1997 as a section of the Rock Paper Scissors Group. This is the department that is responsible for the production of high-end photo known as VFX. It is also the home to the world’s most talented artistes.
The design and animation section mainly comprises of the external woodshop. As a product specialist, Biscuit Film works ought to be a smart and funny brand, something that the stakeholders seem to embrace. The company has thus learnt to equip itself with the production techniques that seek to make products memorable. They are interested in knowing how the products feel, how they move and their impacts on consumers.
Biscuit Film works design and structure of the office proved to be a different kind of stain that entailed the introduction of creative commercial spaces that surpassed what Shubin and Donalsldon had previously. In order to attain their projected design, the company required that they employ the philosophy of creative designs that emerged as a great challenge in most cases at the time. Being both a commercial and a film director, Biscuit intended to have spaces such as those of Chelsea NY whereupon warehouses were reused without the sense of ever compromising the look and what the old warehouses seemed like.
In a number of ways, the project design of the commercial served as a response towards the slick and the branded contemporary spaces that were being constructed at the time particularly in Los Angeles. The architects and clients were found to look for designs that were rather modest, comfortable and adaptable. From the environmental green perspective, the adaptive mode of reusing the old buildings served as a valid branch upon which the company would operate.
The broader stroke for the reuse of the buildings was found to be an idea drawn from different points and which chiefly meant that two different warehouses were to be merged, gutting them in the process and tying them altogether. This would then be followed by the creation of the entire structure inside the grafted building.
Works Cited
Fischer, Lucy. "Film editing." A Companion to Film Theory 3 (2008): 64.
