Akon Studios is a new film production house in Mumbai, built on one advantage: we own our entire kit. Camera, lighting, grip, aerial, edit, colour and sound — nothing rented, nothing outsourced.
Create a strong visual identity that connects.
Engaging content that drives real results.
Storytelling that hits different.
Real stories, shot anywhere in India.
Akon Studios is a new production house in Mumbai, and we say so plainly. What is not new is the craft — the studio was set up by people who have spent their working lives on floors, in edit bays and in grading suites, and who got tired of watching projects lose time and money bouncing between vendors.
So we built it the other way round. Before taking a single commission we bought the kit: camera bodies and glass, the lighting and grip package, an aerial unit, edit bays, a colour suite and a sound room. All of it ours, all of it under one roof.
That changes the maths for you. No rental markup passed through, no waiting on a gear house calendar, and no handing your footage to a post facility that has never spoken to your DOP. And because we are building a reputation rather than trading on one, your project gets the studio's full attention.
Explore our complete range of filmmaking services and everything we create in-house.
Compelling stories brought to life.
Small stories. Big impact.
Content that drives results.
Visual storytelling that hits different.
Real stories. Real impact.
Build trust. Share your vision.
Your brand, told cinematically.
Every moment. Perfectly captured.
New perspectives. No limits.
Precision editing. Powerful cuts.
Colour that evokes emotion.
Sound that enhances every frame.
Four phases, fixed checkpoints, and one producer accountable from the first call to final delivery.
We take the brief or the script, interrogate it, and come back with a treatment, a budget band and a shoot window.
Casting, recce, permits, crew lock, boards and a shooting schedule you can plan a life around.
Principal photography on our own camera and lighting package, with a first AD who keeps the day and daily rushes.
Edit, grade, sound and VFX in-house, then masters cut to every spec — theatrical, broadcast, OTT and social.
Most production houses quote you a film and then go shopping for it. We start with the kit on the shelf — which is why our schedules are shorter, our reshoots are a phone call, and fewer people take a cut on the way to your screen.
See what we can doNot a rental list. Not a partner's inventory. This is what sits in our building and goes out on our trucks.
Cinema bodies with matched prime and zoom glass, matte box and filtration, follow focus and wireless video. Matched across bodies so multi-camera days cut together cleanly.
LED panels, tubes and fresnels with full colour control, HMI for daylight interiors, and the diffusion, flags and negative fill that shape a frame rather than just brighten it.
Track and dolly, sliders, jib, gimbal and stabiliser heads, stands and rigging. Movement gets planned into the shot list instead of improvised because the gear did not turn up.
Our own drone unit with trained pilots and a standing permissions workflow. Aerials are a line on our schedule, not a separate vendor with a separate calendar and invoice.
Location recording with boom and wireless packages, plus a treated room for design, ADR and mix. Audio gets captured properly on the floor rather than rescued afterwards.
Edit bays, a calibrated colour grading suite and finishing workstations. Your footage never leaves the studio, so it never sits in a queue behind somebody else's project.
Rental houses charge a markup, book out on the days everyone wants, and add a pickup and a return day to every schedule. When the gear is ours, a shoot day is a shoot day. A reshoot is a phone call rather than a re-quote. And a client who wants one more setup at 6pm gets it, because nothing is due back at 9am.
Our production van carries the kit, the crew and a working DIT and edit bay to any location in the country. Click any panel to expand.
Most units on location are a truck full of cases and a laptop on a folding table. Ours is a purpose-built production vehicle with a DIT and editing workstation, calibrated monitoring, RAID storage and UPS power — wired in, air-conditioned and quiet enough to work in for twelve hours.
That means footage is offloaded and backed up on the day rather than the week after. It means a director can watch a rough cut before the location wraps, and a client can approve a look on a calibrated monitor instead of a phone screen. And it means colour checks happen while the set is still standing, when a problem is still cheap to fix.
The rest of the van is purpose-built storage — padded compartments for bodies, lenses, filters and matte box, dedicated racks for wireless and recorders, and lockable drawers for everything small enough to disappear on a busy set.
