Tylersfilms LLC keeps a production floor at 254 N 3050 W, Layton - 84041-8823, United States (US) where commercial crews, event teams and post editors book honest working time rather than a showroom hour. Every stand, slate and mirror bulb in the room exists because a shoot needed it, and the floor stays dressed so the next crew can start rolling without a rebuild. We schedule the lane, the light and the edit bay around the plan you bring in, then hand the keys to the people who know how to use them.
Read how the studio floor is arranged→The studio floor at Tylersfilms LLC is laid out as a clapper lane: a slate rack on the near wall, a row of light stands with barn doors along the centre line, and a dressing well with mirror bulbs at the far end. That arrangement is not decorative. It means a crew can mark a take, light it, and check wardrobe in the same line of sight, so a commercial shoot day does not dissolve into a relay of moves between rented rooms.
We keep the floor painted a deep plum black that reads as true black on camera without crushing shadows, and every cable run is taped and labelled before a crew arrives. Clients who rent the studio floor get the lane, the stands, the dressing well and a load-in door wide enough for flight cases. Post teams who book the edit suite get the same floor address and the same key collection point, which matters when a director needs a cut checked while the set is still standing.
Everything below is delivered from the same address by the same small production team, so a shoot can move from a commercial day into coverage and then into the edit suite without a change of contract or a lost afternoon. Each row links through to the fuller description on the services page.
A full day on the studio floor with the light stand row pre-rigged and the slate rack stocked, sized for product spots, brand films and campaign stills. We build the schedule around your shot list and keep a floor manager on the lane so the director stays with the picture instead of the paperwork.
Commercial shoot details →Two and three person crews sent out from the Layton floor to cover conferences, launches and private celebrations across northern Utah. Camera, sound and a floor producer travel together, and the footage returns to the same studio for overnight assembly.
Event coverage details →The lane is available by the half day and the full day for producers who bring their own crew and kit, with the dressing well, the light stands and the cable runs included. Load-in opens an hour before your block and the floor is struck clean for the next booking.
Floor rental details →Half day scout trips that pair a producer with a location lead to walk candidate sites, test sight lines and photograph every angle a crew will need. The findings come back as a working folder with access notes, power positions and a shooting window for each site.
Scouting details →A quiet room off the lane with calibrated monitors, a shared project library and a colour pass bench, booked by the session or held across a deliverable window. Editors can pull footage straight from the studio capture drives without a transfer step.
Edit suite details →Stands, barn doors, slates, monitors and support grip checked out to productions that need a lean package without a full floor booking. Every item is tested on the bench before it leaves and logged back in against a named crew member.
Equipment details →Creative agencies book the lane for hero product work and hand off to the edit suite for social cutdowns, with every asset logged against the shoot day so nothing gets lost between teams.
Companies building internal films, recruitment pieces or product explainers use the studio floor as a controlled backdrop and lean on our coverage crews for interviews away from the building.
Independent directors and producers who already own their package rent the floor, the dressing well and the light stands by the half day, with clear load-in times and no surprise rigging fees.
The difference between a good production day and a long one is usually the first hour. We set the lane, charge the monitors, stock the slate rack and clear the cable runs before the load-in window opens, so the crew starts on the shot list instead of on the furniture. If your plan changes mid-morning, the dressing well converts to a holding area and the edit suite takes the dailies off the cards while the set is still warm.
Talk to the studio team →You send the shot list, dates and crew size through the contact page. We confirm what the lane can hold and flag anything that needs a different position.
The team returns a floor plan with stand positions, load-in times and the services that fit the schedule, so nothing is agreed twice.
The floor is dressed, the slate rack is stocked and a floor manager stays with the booking from the first mark to the last card dump.
Footage moves straight to the edit suite, equipment is checked back in against the log and the floor is struck clean for the next crew.
The near wall holds the slate rack, a shallow shelf where every slate, marker and camera card wallet has a labelled home. Crews who bring their own slates set them beside ours, and the rack is checked before wrap so nothing walks out of the building by accident. It is the smallest piece of the studio and the one that saves the most arguments.
Along the centre line the light stands are arranged by height rather than by type, so a wide shot reads from one end of the floor and a close setup pulls from the middle without moving the row. Each head carries barn doors we keep half open for the room fill, which is why the band at the end of this page is drawn that way. The dressing well at the far end is ringed with mirror bulbs and works as wardrobe, makeup and a quiet holding point for talent between takes.
Cable runs follow the floor seams rather than crossing the lane, and the whole floor is painted in a deep plum tone that keeps reflections low and colour separation strong. Visitors often ask why a production studio bothers with a dressing well at all; the answer is that a talent who can check a collar in good light walks back to the mark faster, and a fast return to the mark is the whole economics of a shoot day.
Yes. The lane, dressing well and light stand row are available to independent producers who bring their own people and kit. Equipment checkout can be added separately if you only need stands, barn doors or support grip.
Two to three weeks is comfortable for a full commercial shoot day, and we hold provisional dates for three working days while a brief is being finalised. Event coverage crews are usually easier to place at shorter notice.
The two are separate services, but they share the same address and project library, so most crews add an edit suite session to the same week. Ask for a combined plan when you send the brief.
The floor is at 254 N 3050 W, Layton - 84041-8823, United States (US). Call +18069326943 on arrival and the floor manager will open the load-in door.
A booking at Tylersfilms LLC starts with a conversation about the shots you actually need, not a rate card read down the phone. Send the dates, the crew size and the deliverables, and the team will come back with a floor plan that names the positions, the light stand changes and the edit time the job will need. If a location shoot is part of the plan, say so and we will build a scout run into the same schedule.
The studio floor runs on Layton time, with office hours from Monday to Friday and Saturday mornings reserved for load-ins and coverage prep. Email bookings@tylerfilms.autos or call +18069326943, and keep an eye on the services page for the detail behind each booking type. Our privacy policy and terms of service explain how client material is handled from the first brief to final delivery.