Twenty-five yearsin the room.
Nikkah, Anand Karaj, Vivaah, Gaye Holud. Filmed by a crew that knows the order of service, and where to stand when it matters.
Why us
A wedding film is not a highlights reel. It is the only moving picture your grandchildren will ever have of your grandmother dancing. We have been in the room for nine thousand seven hundred of them, and we have never once treated it as a job.
- 9,700 Weddings filmed since 2000
- 3,300 Asian ceremonies six traditions
- 1,400 Events & receptions across the UK
What we do
Four ways we cover a wedding.
01Destination
Your celebration does not stop at London's edge. Same crew, same knowledge of your tradition, different postcode.
Read more- 02
Pre-wedding
A couple of unhurried hours, no schedule and no three hundred guests, which is exactly why the pictures look like you.
Read more 
03Films
A film is the only way you will ever hear it back. Your vows, your mother's voice, the second your partner first saw you.
Read more
04Photography
Photography preserves the stillness, the expressions, the details, the glances that happen in seconds and are gone.
Read more
The ceremonies
Six traditions.One crew that knows them.
Anyone can point a camera at a wedding. Knowing that the thaali goes on before sunrise, or that you do not walk in front of the Guru Granth Sahib, is what twenty-five years buys.
- Muslimنکاح
Nikkah
The quietest three minutes of the whole day.
We shoot the Nikkah on long lenses from the back of the room. No flash, no repositioning, nobody asked to say it again for the camera. The qubool hai happens once.
See Nikkah work - Sikhਅਨੰਦ ਕਾਰਜ
Anand Karaj
Four laavan. Four passes. One chance each.
We know where to stand in a Gurdwara, when to sit, and which angle keeps the Guru Granth Sahib respected in frame. Two operators, so no lavaan is covered from only one side.
See Anand Karaj work - Hinduविवाह
Vivaah Sanskar
Seven steps, and the light keeps changing.
Mandap fires, coloured drapes and a five-hour ceremony are the hardest lighting problem in wedding work. We light for it rather than fight it.
See Vivaah Sanskar work - Bengaliগায়ে হলুদ
Gaye Holud
Turmeric, marigolds, and total chaos.
The best frames of a Bengali wedding are almost never of the couple. They are of the aunts. We staff Holud like a documentary shoot, not a portrait session.
See Gaye Holud work - Tamilதிருமணம்
Thirumanam
The thaali goes on before most crews are set up.
Muhurtham timings are fixed by the almanac, often before sunrise. We arrive on the ceremony's clock, not the venue's.
See Thirumanam work - Civil & church
The English Wedding
And when two families do it twice.
Half of what we shoot now is a fusion, a Nikkah on Friday and a barn in the Cotswolds on Sunday. One team, one grade, one film across both.
See The English Wedding work
- 01Muslimنکاح
Nikkah
The quietest three minutes of the whole day.
We shoot the Nikkah on long lenses from the back of the room. No flash, no repositioning, nobody asked to say it again for the camera. The qubool hai happens once.
See Nikkah work - 02Sikhਅਨੰਦ ਕਾਰਜ
Anand Karaj
Four laavan. Four passes. One chance each.
We know where to stand in a Gurdwara, when to sit, and which angle keeps the Guru Granth Sahib respected in frame. Two operators, so no lavaan is covered from only one side.
See Anand Karaj work - 03Hinduविवाह
Vivaah Sanskar
Seven steps, and the light keeps changing.
Mandap fires, coloured drapes and a five-hour ceremony are the hardest lighting problem in wedding work. We light for it rather than fight it.
See Vivaah Sanskar work - 04Bengaliগায়ে হলুদ
Gaye Holud
Turmeric, marigolds, and total chaos.
The best frames of a Bengali wedding are almost never of the couple. They are of the aunts. We staff Holud like a documentary shoot, not a portrait session.
See Gaye Holud work - 05Tamilதிருமணம்
Thirumanam
The thaali goes on before most crews are set up.
Muhurtham timings are fixed by the almanac, often before sunrise. We arrive on the ceremony's clock, not the venue's.
See Thirumanam work - 06Civil & church
The English Wedding
And when two families do it twice.
Half of what we shoot now is a fusion, a Nikkah on Friday and a barn in the Cotswolds on Sunday. One team, one grade, one film across both.
See The English Wedding work
Recent films.
Every wedding below was shot, cut and graded in house. No sub-contracted second shooters, no stock transitions, no music you have heard on forty other films.
The studio
I learned on my father’scamera, one roll at a time.
A cousin spotted it before I did, in 2000, and pushed a camera into my hands. It was my father’s. He shot for pleasure, never for a living, and he taught me all of it from nothing: the camera first, then the darkroom, developing, printing, drying, mounting an album by hand.
Weddings came after that, and they are the part I find calming. Most couples are doing this once. They have no idea where to stand or what to do with their hands, and taking that worry off them is the best hour of my day. Twenty-five years in, I still learn something on every job.
“There was no screen to check. So I wrote down every frame I took, and waited a week to find out if I was right.”
Twenty-five years of venues and caterers
Couples
“We had an amazing experience working with Memory Filming. The team at our event was highly professional, polite, and incredibly cooperative, guiding us every step of the way. They were prompt and responsive to all our messages and emails, both before and after the event. All deliverables were provided even before the promised time, exceeding our expectations. Without a doubt, we’ll be booking Memory Filming for all of our future events!”
Enquire
Is your datestill free?
Tell us the date and the venue. We will come back within one working day with availability, a crew size, and a straight price, no consultation call required first.
- Call the studio
- 07446 580004
- [email protected]
- Studio
- The Mille, 1000 Great West Road
Brentford TW8 9DW