How we got here
I started as an actor, working in film, television and commercials. Years on professional sets taught me how a shoot actually runs and who you need on it — so when I moved behind the camera in 2020, it was a natural transition rather than a leap.
Penny & Pound began with product videos and facility tours. As manufacturers saw the quality of the work, they started asking for more of it — renders for the catalog, animations showing how a product installs, imagery for submittal sheets. The range of services grew from there.
— Adam Gibson, Founder
Crewed for the job.
We work with a core team of collaborators — directors of photography, directors, production crew, editors, animators and 3D artists — assembling the right people at the scale a project needs.
These are established relationships with seasoned professionals who know how to get the job done, without fuss and on schedule.
A facility tour, a lit studio interview and a catalog render build each get a team built for the job rather than whoever happens to be available.
Having spent years on the other side of it, we know what a good audition looks like and how to direct someone once they’re on set. When a project calls for talent, we cast it properly — and we can reach the calibre of performer that makes the difference between a product video and a commercial.
A lot of the people we put on camera have never done it before — executives, plant managers, long-serving employees, customers.
Nerves are common with public speaking, and being on camera is no different. Adam and his team work with subjects ahead of the shoot and on the day — which is usually the difference between a stilted answer and a real one.
Professional kit, professional spaces.
We shoot on RED, ARRI and Blackmagic cinema cameras, and work out of established Los Angeles stages and studios when a production calls for a controlled environment.
The DPs we work with are equally at home on a soundstage and inside a working plant — which is a different discipline entirely. Factory floors have their own lighting problems, their own noise, their own safety requirements, and they don’t stop production because a camera turned up. Shooting well in that environment takes people who have done it before.
Most of our work is with manufacturers of specification-driven products — commercial plumbing and building products, fire protection, safety equipment, water systems, drainage and industrial fixtures.
We have produced work across nearly every division of Morris Group International, from full product launch campaigns for Acorn Engineering and Murdock to individual animations and render libraries across the group. That includes the corporate identity film for Morris Group International itself, which premiered to a room of 400 reps and C-suite guests and now runs on every division website.
"In the past 22 months, Penny & Pound has delivered Morris Group International dozens of top-quality videos, animations, renderings, photography, and illustrations for many of the 28 divisions and brands that comprise Morris Group International. They are pro's in working towards and delivering what you need, even under severe deadlines."
Charles White
Vice President of Marketing, Morris Group International
Everything we shoot and build is an asset, not a deliverable.
Footage from a facility shoot becomes a website hero, a convention promo, a recruitment piece. A 3D model built for one launch feeds renders, animation and interactive assets for years afterwards. You own the models we build — we don’t license them back to you.
And the longer we work with a client, the less explaining anyone has to do. Knowing how a company’s products are built, how its launches run and what its submittals require is the part that can’t be handed over in a brief.
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A production company built around getting it right.
Penny & Pound Pictures is a visual production company in Los Angeles, working with manufacturers whose products have to be understood before they’re bought.