Light that falls differently.
There is something irreplaceable about light that falls differently, landscapes that breathe, and moments that exist only because you were somewhere far from ordinary. Jordy Scott Media travels to capture exactly that.
Whether you are planning a destination elopement, a brand campaign in an extraordinary location, or a travel lifestyle project that deserves to be seen, this is work built for the world beyond the studio.
Where the work has taken me.
Destination shoots are scoped individually. Every location, every light condition, every story is different.
Watch.
Each plays here on the page rather than sending you to YouTube.
Destination films and the stills beside them.
Tourism boards, operators, venues and brands with something worth travelling for. Films, galleries, and the library that comes with them.
Destination filmsA place, with a point of view.
Short documentary pieces built around what a place actually feels like rather than a list of attractions. Shot over several days so the light and the weather become part of the story instead of something to work around.
Operator and venue workThe experience you are selling.
Tours, stays, restaurants and the people running them, covered so a prospective guest can see themselves in it. Delivered as both film and stills, because an operator needs a booking page as much as a hero video.
Stills librariesThe set that keeps working.
A full destination gallery graded as one body of work, sized for web, print and socials. This is what carries a campaign through the months between films.
Aerial, where it earns itScale you cannot get from the ground.
Coastline, terrain and approach, flown under a CASA licence at home and to local rules abroad. Used where the landscape is the story, not dropped in because the drone came along.
Small footprintOne person, moving fast.
Solo or two-person crews that get into places a full production cannot, and that cost a fraction of one. It is the reason a fortnight on the road is affordable at all.
Vertical cutsCut from the same trip.
Short vertical pieces pulled from the same footage for the ongoing socials calendar, so the trip keeps paying out long after the main film has been posted.
Permits and accessCleared before we land.
Drone approvals, location permissions and the local rules that change at every border, sorted in advance so a shoot day is not spent negotiating one. CASA licensed at home, and flown to the local authority's rules wherever the job is.
Weather windowsBuilt into the schedule.
Travel work lives on light and conditions, so the schedule carries buffer rather than one shot at it. A day lost to cloud is planned for instead of being a crisis, which is most of the reason the footage comes back usable.
The things people ask first.
Do you travel internationally for commissioned work?
Yes. The destination galleries on this page are personal work, but the same approach is what gets commissioned by operators and tourism clients.
International jobs are quoted with flights, accommodation and ground transport set out as their own lines, so you can see what is production and what is logistics.
How long do you need in a destination?
Three to five shooting days is the realistic minimum for a film with any depth to it. Less than that and you are relying on the weather cooperating on the one morning you have.
A week gives you a film, a full stills library and enough vertical cuts to run socials for months, which is usually the better value even though it looks like the bigger number.
What happens if the weather turns?
It gets built into the schedule rather than treated as a disaster. Trips are planned with the key shots front-loaded and alternates held for each day.
Bad weather often makes the better film anyway. A coastline in heavy cloud is more interesting than the same coastline on the same blue day everyone else shot.
Can you fly a drone overseas?
Where the local rules allow it, and that is checked country by country before anything is packed. Some places require a permit, some ban it outright, and national parks are usually their own regime.
Where aerial is not permitted, it is dropped from the plan rather than flown quietly. It is not worth the equipment or the client's name.
What do we actually receive?
A main film, usually two to four minutes, a set of vertical cuts for socials, and a graded stills library sized for web and print.
Raw footage is available on request. Most clients do not want it, but tourism boards with an in-house team sometimes do, and it is easier to agree that up front than afterwards.
Is this work licensed differently?
It is scoped the same way as any commercial job. You get the usage your campaign needs, written into the quote.
The one thing worth flagging early is broadcast or out-of-home use, which is priced differently to web and social and is much easier to include from the start than to add later.
“Jordy did an amazing job pulling together some great travel videos for us in both Turkey and Croatia. They have definitely helped us sell more tours.”
Tell me where the story is.
Destination shoots are scoped individually. Send the location, the dates and the vision.
Get in touchKeep going.
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