Bairagi Films

Bairagi Films is a production house working across documentary, commercial and feature film. The house takes projects end to end, and also crews for teams filming from outside the region. Enquiries are taken for all three formats, and separately for stills and for fixer and crew work.

Use the enquiry form on the home page. It asks what you are making, your name, your email, and a brief covering dates, place, length and what the film is for. Nothing is sent from the page itself: the form opens a draft in your own mail client, with the address printed plainly as a fallback.

A fixer establishes what is actually true about a location before a crew commits to it: which office signs which letter and how long it sits there, whether a bridge takes a grip truck or only a van, who to ask before pointing a lens into a courtyard, and what a village expects in return.

They overlap but they are not the same job. A line producer owns the budget and the schedule. A fixer owns local access: the permissions, the relationships, the roads and the people who have to say yes before a camera comes out. On a small remote unit the two roles often sit with the same person.

Because the dates decide what a shot list is allowed to contain. In mountain terrain a sequence that is impossible in July can be routine in October, and no budget changes that. Sending the dates first means the schedule gets rewritten in advance rather than in the second week of the shoot.

The house is based in Uttarakhand and works across India. Two kinds of job come out of that: projects the house runs end to end, and crewing for teams who are travelling in and need people who already know the district. The enquiry form asks for the place alongside the dates for that reason.

Yes. Alongside its own productions the house crews for visiting teams, which is listed as fixer and crew work on the enquiry form. That covers the people and the local groundwork a unit needs on arrival rather than the creative direction, which stays with whoever is bringing the film.

Dates, place, length and what the film is for. Those four are what the brief field asks for, and they are what decides whether a project is possible at all. A shot list is welcome but is not needed first; without dates, a shot list cannot be answered accurately anyway.