Going Bigger: Filming a Horse and a Baby

After our last round of films for PSECU, we sat down in Josh Henry’s office and scrutinized them. They were some of the best work we’d ever done. We loved them. The client loved them. They looked great and made PSECU look great.

We wanted to do even better.

Raising the Bar

We’ve made a lot of small, intimate films that present relatable human moments beautifully. We challenged ourselves to raise the production value and make films that were bigger – more striking sets, more spectacular shots, more unique and tricky stories. If we could do that without losing the intimacy and emotional human moments of our past work, we knew we’d be onto something memorable and special. 

At LampHouse, we love partnering with our clients to strengthen their brands. Our greatest desire is to help the organizations that we work with become iconic. Going bigger, more striking, more memorable, would serve this goal, as images associated with their brand stuck in viewer’s memories. 

Working with Lamphouse to produce a high-quality product has eliminated much of the stress involved with planning and production. We know we’re going to get a quality film that works for us.

Chris Bower, Media Producer at PSECU

Auto Loan Films

The opportunity to stretch our production value came, again, from PSECU. They came to us to promote their auto loan program, and we sat down to intentionally develop stories that would raise the production bar. 

Conventional filmmaking wisdom says the two biggest challenges are animals and children. We ended up with a horse and a baby. 

Still committed to poignant human moments, we told stories of life transition, of dreams realized, and the ability to live those dreams that financial freedom provides. 

They were challenging – our biggest crews and most elaborate shoots to date. They also came together even better than we hoped. 


Over the course of a long, intense shoot, we felt the pressure our ambitious scripts created, but we also got to witness a young mother acting with her real-life daughter and a woman reliving her younger love of riding. 

These bigger setpieces and stories pushed our production team, but in the end they’re as poignant and personal as anything we’ve made. 

 We’d be happy to work with a horse and a baby again.