A scene that needs a Rolls-Royce at dawn, a lead who should arrive rested, a crew of twelve at a six o'clock call — the house finds the car, shows it to you first, and stays with it all day.
I
Cars in the frame
The Marque cars, the Rolls-Royces and Bentleys by arrangement, the exotics and supercars, and through collectors the house knows, the car a period scene asks for — found to the brief, photographed before you choose.
II
The cast and the client
A Marque car or a Vellfire for the lead, the director, the client on set — waiting by the call sheet, not the clock, with a sarathi who knows that silence is part of the work.
III
The unit, moved
Vans for the crew from Film City, Madh or Aarey at the first call and home after the last, with a sarathi answerable for the count.
The rule the house keeps on set
Any car that carries a person on a public road for the production is commercially registered and insured for it — the cast car, the client car, a car driven in a scene with an actor inside. A collector's car on private plates appears in the frame standing, or moving only on a closed set or private ground, carrying nobody; when a driving shot needs it, it travels to location on a carrier. That keeps the owner, the production and the actor covered on the one day it matters.
What the house brings
The right car, shown firstPhotographs of the exact car, its colour and its condition before you commit; a second choice held where the shot depends on it.
A sarathi with the carOn set all day: the car placed, cleaned between takes, its doors and interior protected, its owner's rules kept — no smoking, no food inside, no stunt the car was not lent for.
The papersThe car's registration and insurance letter for your location file, and the owner's written consent for the use you described.
NoticeA week for a Marque car; thirty days for a car by arrangement, an exotic or a collector's car. For sooner, the house says plainly what is possible.
What stays with the production
PermissionsThe location permission and the police and traffic permission for the shoot — the house works alongside your line producer and never films without them.
CoverYour production insurance names the car's owner for the days the car is with you.
The car as it isNo badges removed or added, no wrap, no change to the car without its owner's written yes.
A production that books cars often keeps a desk: the unit’s pickups, the set and the call times are one tap, and every car sent is there to book again. Open the desk for a production.
Also asked for
Pre-wedding shootsA car as the backdrop at dawn on the Sea Link approach or in the old lanes of the Fort — and the couple driven between locations in a car of the house.
Music videos and campaignsThe car the song or the season asks for, and the talent moved quietly in between.
Brand and corporate filmsThe chairman's car in the frame, and the chairman driven to the shoot in another.
The house has the brief.
A person writes back with the cars and the figure, in writing.
Can I hire a Rolls-Royce or a supercar for a shoot in Mumbai?
Yes, by arrangement: a week's notice for a Marque car and thirty days for a Rolls-Royce, a Bentley, an exotic or a collector's car. Photographs of the exact car come first.
Can a private car be used in a shoot?
A collector's car on private plates can appear standing, or moving on a closed set or private ground, carrying nobody. Any car that carries a person on a public road for the production is commercially registered and insured for it.
Do you arrange cars for the cast and crew?
Yes — Marque cars and Vellfires for the cast, director and client, waiting by the call sheet, and vans for the crew.
Who gets the shooting permission?
The production, as always. The house works alongside your line producer and provides the car's papers and the owner's consent for your file.