EDD CALLEGARI · SUFFOLK & ESSEX
Edd Callegari.
Property films.
Property films that begin with a sense of place. The Camera Guys filmed and photographed a series of homes for Edd Callegari, combining local-area introductions, presenter-led tours and aerial views across Suffolk and Essex.
EXPLORE THE PROJECTS ↓- Client
- Edd Callegari
- Film
- Presenter-led property tours
- Photography
- Interiors, exteriors & aerials
- Approach
- The area, then the home
THE BRIEF
Show the home. Introduce the neighbourhood.
A property listing can show a beautiful kitchen and still leave an important question unanswered: what would it feel like to live here? Our work for estate agent Edd Callegari approached that question through a series of films inspired by the area-first storytelling of Escape to the Country. Each project connected the home with its town, village or rural surroundings.
We visited local places, filmed the amenities and atmosphere, then moved to the property for a video walkaround. Edd presented to camera throughout the series, giving the films a recognisable voice and a personal introduction. Our role brought together filming, editing, drone videography and photography, alongside multi-exposure property photographs.
This case study brings those projects together as examples of our property videography and photography. The films and galleries show how a consistent approach adapted to different homes, locations and briefs.
HADLEIGH · SUFFOLK
A town introduction with everyday life in the frame.
The Hadleigh film begins with the town itself. Edd introduces its character and local amenities before the viewer reaches the home. The sequence draws on the high street, places to eat, historic architecture and the surrounding countryside. It establishes a setting the property tour can then build on.
The frames from this shoot show the range of material involved: cyclists passing the corner of Church Street, people sitting outside a café, geese on the river, the church and a broad aerial view over the rooftops. Edd's presentation on the bridge ties the location footage to the person guiding the tour.
For us, these images demonstrate the purpose of local videography in Suffolk: finding useful details within a real place and bringing them into the story. The stills shown here were taken from the finished footage, preserving moments from the location introduction.
HADLEIGH · FRAMES FROM THE FILM
13 FURNESS CLOSE · IPSWICH
One property, two complementary ways to explore.
At 13 Furness Close, the film and photographic gallery offer different routes through the same home. The video provides the guided viewing experience, while the photographs let a prospective buyer pause over individual rooms, finishes and exterior views.
The supplied photographic set covers the kitchen, living and dining spaces, bedrooms, bathrooms, utility room and garden. It also includes the approach to the house and its rear elevation, giving the collection a useful sense of the building as a whole. Wide views establish the spaces; alternative angles make their connections easier to understand.
We captured the property photography with multiple bracketed exposures. This approach records different brightness levels for the final image, helping us balance interior detail with brighter windows. The 13 Furness Close photography gallery presents the complete supplied set in a paginated grid below its matching film.
13 Furness Close Photography Gallery
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Photographs 1–6 of 34
CAVENDISH · SUFFOLK
Village character before the front door.
Cavendish gave the location-first format a particularly clear starting point. In the film, Edd introduces the village green, historic buildings and local community before moving on to the property. The narration places the home within village life, rather than asking viewers to imagine the setting from an address alone.
Our job was to give that introduction visual substance and then carry the same inviting pace into the house. The sequence moves from the wider location to the spaces a buyer would use day to day. The garden becomes part of that progression, connecting the interior tour back to the outdoor setting.
The Cavendish property photography gallery brings together the matching interior, exterior and aerial images. These photographs complement the moving tour by giving each room and garden view its own space. Together, they show the value of planning the film and stills as one property-marketing brief.
Cavendish Property Photography Gallery
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Photographs 1–6 of 32
VANCOUVER · BROCKLEY, SUFFOLK
A home whose grounds help tell the story.
Vancouver is the name of the property in Brockley, near Bury St Edmunds. Edd's introduction places particular emphasis on its gardens, the water running through the grounds and the surrounding rural views. The film then broadens the location story with nearby places to visit before introducing the home.
That emphasis changes what matters in the coverage. The plot and its relationship with the building deserve attention alongside the rooms. Aerial views help connect the roofline, lawn, trees and water, while ground-level photographs bring the viewer closer to the garden. Indoors, the collection includes an open-plan kitchen and dining space, living areas, bedrooms and bathrooms.
Our drone filming and aerial photography formed part of the wider production, giving the property context from above. The Vancouver property gallery keeps these photographs together so viewers can explore this home independently of the other projects.
Vancouver, Brockley Photography Gallery
Explore 31 photographs. Select an image to view it in full.
Photographs 1–6 of 31
MOUNTAINS FARM · GREAT DUNMOW, ESSEX
One estate. Three Edds. A five-minute tour.
Mountains Farm, near Great Dunmow in Essex, called for a longer film and a more playful structure. The property was presented as a nine-bedroom farmhouse with extensive grounds and several outbuildings. A conventional room-by-room walkaround would have had a great deal to cover, so the client wanted something creative for the roughly five-minute tour.
We created a clone effect that put three versions of Edd in the same sequence. Each appeared to head off to explore a different part of the estate: the main farmhouse, the pool complex and outbuildings, or the lake and grounds. The edit then handed the story between them, giving the viewer clear chapters within a large property.
Inside, the tour moved from the entrance hall and limestone staircase through the living spaces, bedrooms and lower-ground entertainment rooms. The other strands introduced the indoor swimming pool, detached cottage and garages, then the fishing lake, tennis court and gardens. Drone coverage helped show how these different elements sat within the wider setting.
The clone sequence was a storytelling device as well as a visual effect. It gave Edd a memorable introduction and made the change between areas part of the presentation. For our video production in Essex, the challenge was to keep that creative idea serving a clear, watchable property tour.
THE MARQUIS · COMPETITION FILM
A hospitality giveaway filmed like a property tour.
The Marquis project had a different purpose: Edd was running a competition. We filmed and edited the piece as though it were another property video, using his presentation and a tour of the spaces to introduce the experience on offer.
That distinction matters. This was a promotional competition film, rather than a home being marketed for sale. The familiar touring format gave Edd a way to lead viewers through the venue and make the prize tangible. The setting, rooms and presentation carried the message together.
It is also an example of how a production style can extend beyond its original use. The same attention to place and guided movement can support promotional video production for a hospitality business, while the script and edit remain specific to the campaign. The film is presented here as an archive project, not an invitation to enter a current competition.
PHOTOGRAPHY & PRODUCTION
Moving tours and carefully finished stills.
Across these projects, the production combined presenter-led video, drone coverage and dedicated photography. Each medium answered a different viewing need. Edd could explain the setting and guide the film; an aerial view could show the relationship between a home and its surroundings; a photograph could hold a room still for closer inspection.
The multi-bracket exposure approach was particularly relevant indoors, where a bright window and a darker room can sit within the same composition. Capturing several exposures gave us material to work with during the photographic edit. The aim was a clear, readable presentation of the space, with attention to the balance between its highlights and shadows.
Our commercial photography and video work were therefore connected parts of the commission. Planning both around the same property gave the client moving and still material that described the same rooms, features and surroundings.
PLANNING A PROPERTY FILM
The area belongs in the brief.
The recurring creative decision across the series was to spend time beyond the property boundary. A village green, a town centre, a riverside view or a local café could help explain the appeal of the location before the tour moved indoors. Those sequences gave the films their sense of place.
For a similar commission, the useful starting point is a brief that identifies both the home and the surrounding places worth showing. From there, we can plan the presenter sections, interior tour, exterior views, aerial coverage and photography as related requirements. The choice of locations should serve the story of that particular property.
Our accompanying article on why property videos should show the local area explores that planning approach. For your own project, see our filming and editing pricing or send us the property details and the content you need.
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