Terms of Service

Last updated September 2026

These terms of service set out the conditions under which CALUPOH FILMS L.L.C., a film production and post-production studio whose office sits at 10588 S Wild Rice Dr in South Jordan, agrees to provide services to a client. The pages of this website were developed by the developer team CaluFilms, but every service offer, quotation, and deliverable described on this site is performed by CALUPOH FILMS L.L.C. and is bound by these conditions. Reading this document before you engage us will save both sides from confusion later.

1. Acceptance of These Terms

By using this website, by submitting an enquiry through the contact form, by telephoning the studio on +14847153713, or by signing a statement of work, you agree to these terms of service to the extent that they apply to your visit and to any work you later commission. The terms that govern an actual production are the ones recorded in a written agreement for that production, which may refine or replace the general text on this page. Where a signed proposal differs from these pages, the signed proposal wins for that specific piece of work.

If you do not agree with any part of these terms, you should not commission us, and you should simply stop using the site. Merely browsing the public pages is not an offer to buy a service; it is only an invitation to talk. A binding engagement begins only when we both sign a scope of work or otherwise reach a clear written agreement on the details of a project.

We may update these general terms from time to time. Any work agreed after an update follows the version in force on the day of the agreement, and the date above tells you which version is current.

2. The Service Operator

The entity responsible for delivering the production, editing, color, sound, and archive services described on this website is CALUPOH FILMS L.L.C., a company organized under the laws of the United States and operating from a studio suite at 10588 S Wild Rice Dr, South Jordan - 84009-6145, United States (US). The studio is professionally equipped for film production and post-production, and it is the single legal point of contact for every engagement taken on this site.

You can reach the operator by email at forward@cypruszelda.mom, by telephone on +14847153713, or by post to the Wild Rice Drive address above. When a client has a question about billing, scheduling, ownership, or liability under these terms, that address and that mailbox are the correct places to write, and we will answer in a prompt and good faith manner.

The website development and its editorial architecture were crafted by CaluFilms on behalf of the operator. CaluFilms is not a separate seller of film services; the developer arm builds and maintains these pages for the operator, and it stands behind its construction work in the same honest spirit.

3. Nature of the Services

The studio offers professional services across six connected lines of craft. Documentary production covers research-based shooting, structure, capture teams, and the shaping of real stories. Commercial filming covers branded moving image for product, corporate, and advertising use. Post-production editing covers the assembly, trimming, pacing, and refinement of picture. Color grading suites cover the look and consistency of the image through dedicated grading sessions. Sound design and mixing covers dialogue, ambience, effects, and the final audio master. Archive and digitization covers the rescue, transfer, and organization of older media into a useful modern format.

We also offer a number of incidental activities that support these lines, including location scouting, permitting assistance, captioning, versioning for different screens, and technical review. Anything beyond the six core disciplines is described item by item in an individual proposal rather than assumed to be included.

Nothing on this site is a promise that a particular house crew will always be available or that a particular delivery format is on offer forever. Formats change, and each proposal lists the actual resolutions, codecs, and media that apply to that job.

4. Quotations and Estimates

Every quotation we issue describes the agreed scope, the deliverables, the schedule, and the price. A quotation given on the basis of an outline becomes a firm price only once the client confirms the scope in writing and we accept it. We will not silently begin expensive work on the strength of a friendly phone call; capture days, talent, and location spend all require an agreed sign off.

Some services are naturally priced as an estimate rather than a fixed quote. Post-production editing and color grading can depend on the volume of raw material and the number of review rounds, so a proposal often sets an estimated number of days or hours and an hourly or daily rate beyond that allowance. We will always tell you in advance when we are approaching the edge of an estimate, so that you never meet a surprise invoice at the end of a job.

Any quotation that relies on third party costs, such as a camera rental house, a location fee, a music license, or a captioining vendor, is stated as estimate plus the third party pass through cost, with the relevant invoice shown to you if we need to raise the number.

5. Scheduling and Bookings

Studio time at the Wild Rice Drive suite, and any outside shoot day, is reserved on a first confirmed, first served basis. A provisional verbal hold is not a guaranteed booking; the day becomes yours once we hold a signed proposal and the agreed deposit or confirmation. If you hold a date without an agreed deposit and a second, ready client books the same slot, the ready client takes priority.

If you need to change a confirmed day, tell us as early as possible. Where a change preserves the same total hours we will usually honor it at no cost, but a change that empties a fully booked calendar day may attract a rescheduling fee, because vacated studio time often cannot be resold on short notice.

We will confirm your booking in writing with the date, the crew, the location arrival time, and the expected wrap. Please arrive on time, because a late start on a capture day is rarely recoverable once daylight and locations lock in.

6. Fees and Payment

Payment terms are set per proposal and are restated on the client order. A common pattern is a percentage due to book the date and the balance due on delivery or as defined progress milestones. Unless a proposal states otherwise, invoices are payable within a fixed number of days from issue, and overdue accounts may accrue a fair late charge as allowed by law.

We never begin the transfer of a final master to a client until the agreed payment for that phase is settled, unless a written arrangement says otherwise. Third party pass through costs are payable whether or not the final master has transferred, because we must pay the rental house or the location regardless.

If the studio needs to pause a job because an invoice is overdue, the schedule pauses too, and the client accepts that unpaid studio days may be rebooked after reasonable notice. We prefer openness to pressure, so the first step of any payment problem is a conversation rather than a stop order.

7. Client Material

Much of post-production depends on material the client hands to us: camera cards, drive contents, scripts, artwork, or archive reels. By delivering material, the client confirms that they own it or hold the right to use it, that it is free of any claim that would stop us doing the agreed work, and that the work will not infringe any third party right.

We handle client material with the care a cutting room should; we keep master drives backed up during active work and we protect the media from loss as far as ordinary professional diligence reaches. However, we are not a permanent archive. Material you deliver sits in our active storage for the period of the job plus a reasonable overlap, and long term custody is a separate archive and digitization service you can commission.

Please always keep your own copy of anything irreplaceable, because no studio can guarantee against acts of nature, drive failure, or software faults affecting copies entrusted to us for editing.

8. Intellectual Property

Ownership of the finished commissioned work transfers to the client when the final invoice for that work is paid in full, subject to any license reserved for third party material. Pre-existing material the client supplied remains the property of its owner, and the client keeps the rights they already held.

The studio reserves its rights over its own tools, techniques, templates, project settings, and reusable software or plugins that are not delivered as part of a finished master. A client receives a license to use the finished production for the purpose it was commissioned; they do not receive this studio internal toolbox.

Unless the proposal says otherwise, we also reserve the right to display a credited piece in our portfolio and on our showreel, under the separate privacy policy above. If a client prefers a piece to stay private, they state that before engaging us and we mark the file accordingly.

9. Holdbacks and Deliverables

We deliver each master in the format stated in the proposal, together with any role that the proposal lists as included, such as a review cut or a broadcast master. A provisional review cut gives a client a chance to comment before the picture lock; it is not the finished master, and it may carry watermarks or temporary mixes solely to mark its status.

Deliverables that a client specifically orders beyond the proposal, such as a second language version, an extra resolution, or a caption file, are priced as additions rather than assumed benefits. We are transparent about what is inside the first delivery and what costs a little more.

Picture is locked at a point the client approves, after which changes are treated as new revisions. We allow a small number of fair review rounds within a post estimate, and we explain exactly where that allowance sits so that a heavy revision schedule never arrives as a shock.

10. Confidentiality

Both sides expect professional secrecy around work that is not yet public. This studio keeps confidential any unreleased commercial, a documentary that is still in the can, a private story, or a treatment that reveals a client strategy. We will not leak a project before its moment, and we ask the client to extend the same courtesy to our working methods and pricing.

Information is not confidential if it was already public, if we were lawfully in possession before you shared it, if a third party lawfully disclosed it to us, or if we are required to reveal it by law. In a legal compulsion case we will tell you first where we legally may.

Confidentiality survives the end of an engagement, so a secret learned on one project stays a secret when the next client arrives. This habit is why producers trust the South Jordan cutting room with sensitive material from the first phone call.

11. Filming Risks and Locations

Documentary and commercial filming often happens on location with real risks: traffic, weather, crowds, heights, animals, or valuable equipment in public places. We plan shoots with safety at the centre, brief crews, and carry the insurance we regard as appropriate, but we cannot make the physical world risk free. The client, where they control a venue or a location, keeps responsibility for the safety and suitability of that place.

Location fees, government permits, property release, and traffic control are normally the responsibility of the party that can most practically obtain them, and we agree this in the proposal rather than assume. Where we handle a permit on a client behalf we pass the true third party cost straight through.

If a location becomes unusable on the day for reasons beyond control, such as a storm or a sudden permit denial, we reschedule in good faith and we share the honest cost impact rather than inflating a bill.

12. Delays and Changes

Both sides do best when delays are rare and change is planned. If a client asks for a meaningful change of scope mid job, we will give a written effect on the schedule and price before we charge for it, so that the client can decide with open eyes. Scope creep that we silently absorb is simply a recipe for a late delivery, and neither of us wants that.

When we are the cause of a delay, for example a breakdown, an illness, or an equipment fault, we tell the client at once and propose a recovery plan. We take reasonable steps to hold a deadline, but a date that depends on a third party release, a broadcaster approval, or a location schedule cannot always be guaranteed.

Time frames stated on this site and in casual emails are good faith targets. Only the signed proposal states binding dates, and even then a genuine force majeure event means the days shift rather than the obligation disappears.

13. Limitation of Liability

To the fullest extent the law allows, the studio will not be liable for indirect, incidental, consequential, special, or punitive damages, or for lost profits, lost revenue, lost data, or interruption of business, arising from any service, however caused, even if we were advised of the possibility. This includes damages related to a delivery that is late, distorted, or unusable because of third party or force majeure causes.

Our total liability for any claim arising from a piece of work will not exceed the fees the client actually paid the studio for that piece of work during the relevant engagement. Our liability for a simple website visit is limited to a nominal amount, because a freely viewed website creates no wider duty toward a casual browser.

Nothing in these terms excludes liability that cannot lawfully be excluded, such as liability for fraud or for death or personal injury caused by negligence. Where a law sets a floor underneath exclusion, that floor prevails and we rely on it.

14. Indemnity

The client agrees to indemnify and hold harmless the studio, its crew, and its advisers against claims, losses, and reasonable costs that arise because the client supplied material the client did not own or had no right to use, or because a brief induced us to infringe a third party right that the client promised was clear.

This does not make the client a blanket insurer of every mistake we make. If a problem is truly our error, for example a wrongly exported format, the studio corrects its own fault at its own cost. The indemnity protects against the risks the client alone controls, such as the ownership of footage the client hands over.

We ask each party to give the other notice of any claim promptly and to allow the responsible party to take part in or direct a defence, so that the studio is not quietly bound by a settlement a third party negotiates against it without the studio in the room.

15. Proprietary Agency

CALUPOH FILMS L.L.C. contracts as an independent studio, not as the employee or agent of any client, and nothing in a proposal makes the studio crew members of a client organization. We keep control of how our own staff and equipment are used to complete the agreed result.

Because we are an independent studio, wages, taxes, social contributions, and insurance responsibilities for our own personnel sit with us, and the corresponding obligations for the client own staff sit with the client. No engagement on this site establishes a joint venture or a partnership between the studio and a client.

If a client expects to resell or embed one of our crew under their own management for an extended term, that is a different kind of arrangement that needs its own written agreement rather than an unspoken assumption inside a shoot proposal.

16. Acceptable Use

Anyone may read this website. The content on these pages, including the prose, the structure, and the distinctive layout motifs, is provided for lawful professional use. You may not scrape, copy, automate, or rebroadcast the design and text to build a competing the studio site, to mislead visitors, or to sell as template work. The law protects the original expression on this site, and we will defend it against industrial copying.

You may post a normal social message that links to the site or quotes a sentence of ours for commentary, which is ordinary fair use. You may not pretend to be CALUPOH FILMS L.L.C., re-file our pages as your own, or place our forms into a phishing context. If you want to use a chunk of our copy for a legitimate purpose, write first and we will almost certainly say yes.

Finally, please do not submit anything unlawful, offensive, or knowingly false through our contact channels; abuse damages the mailbox and we reserve the right to block persistent misuse.

17. Disputes and Governing Law

These terms and any engagement under them are governed by the laws of the United States and the state of Utah, excluding their conflict of law rules. The venue for any dispute is the state and federal courts serving our county in Utah, and both parties submit to that venue for live production contracts.

Before either side files a suit, we ask for a good faith effort to resolve the matter through direct discussion, because almost every cutting room disagreement settles once the two parties look at the same schedule and the same bill in a calm room. Nothing forces you to drop a lawful claim; this is only an orderly first step.

If any part of these terms is held unenforceable, the rest stays in force, and the unenforceable clause is narrowed only as far as needed. A waiver of one breach is not a waiver of later breaches.

18. Contact

Questions about these terms go to CALUPOH FILMS L.L.C. by email at forward@cypruszelda.mom, by telephone on +14847153713, or by post to 10588 S Wild Rice Dr, South Jordan - 84009-6145, United States (US). We are glad to explain a clause, to send an example proposal, or to adjust a general sentence where a specific contract will govern a real job.

Thank you for reading. Clear terms are the foundation of a working partnership, and the studio treats a shared understanding of scope and price as seriously as it treats the timing of a frame. If we can help you make something real, the fastest way to begin is to reach out and describe the story you want to tell.