With Abu Jani and Sandeep Khosla, as the designers mark four decades in fashion and unveil their first jewellery campaign. An ELLE cover, editorial and campaign from one production.
One idea built into a full visual world for CAVA: concept, direction, photography, film, styling, beauty and production.
The bridal cover for Khush Wedding, in Tarun Tahiliani. Shot across a sandstone palace, from courtyard to candlelight.
For the love of cinema. A black-and-white cover and editorial in tailoring and feathers, lit like a film set.
A vintage car, a pink-stone palace and a wardrobe of print and colour. A cover editorial for Khush.
A full house: an ensemble cast, a vintage drawing-room set and sequins after dark.
Bridal red, heirloom emeralds and the warm gold of a palace interior, lit by hand.
Come for India and its range: Himalayan desert, palace courtyards, lakes and riversides, in a single shoot. Or take the campaign further, to Thailand’s islands, the UAE’s dunes or South Africa’s Atlantic coast. One company, one budget and one invoice across all four.
One country, every landscape. Himalayan desert in the morning, a palace courtyard by night.
Signature locationsWildflower valleys, pine forests and still water, shot from the shore or from a boat.
See the shootSandstone courtyards, carved colonnades and candlelit halls.
See the shootStone steps, river light and ritual at dawn.
Sets built in house, from miniatures to full stage builds, and props on rental.
Old-city lanes, markets and everyday street life, with the permits handled.
Sand, sea and open sky along India’s long coastline.
Our head office and teams across the country, with heritage access, permits, cast, crew and craft handled end to end.
Plan a shoot in India
Tropical light, island coast and temple calm, a short flight from India.
Signature locationsLimestone cliffs, white sand and turquoise water.
Gilded temples, river life and quiet old quarters.
Green terraces, mist and mountain light.
Private pools, tropical gardens and beach houses.
Our team in Thailand handles locations, permits, local crew, visas and stays, run by the same company as your India shoot.
Plan a shoot in Thailand
Desert, skyline and five-star sets, a short flight from India.
Signature locationsWind-carved dunes close to the city, best at golden hour.
Glass towers, skyline views and polished modern lines.
The creek, the markets and wind-tower lanes.
Five-star suites, beach clubs and yachts for luxury stories.
Locations, permits, local crew, visas and stays across the UAE, on one budget alongside India.
Plan a shoot in the UAE
Atlantic coast, mountains and vineyards, with long bright summer days from November to March.
Signature locationsSheer peaks rising straight out of the Atlantic.
White sand framed by smooth, sculptural rock.
Brightly painted houses on steep cobbled streets.
Vineyards and old Cape Dutch estates.
Roads cut into the cliffs, made for movement and cars.
Locations, permits, local crew, visas and stays in South Africa, planned and run by the same company as your India shoot.
Plan a shoot in South AfricaA single point of contact for your team, with budgets and cost reports in INR, USD, THB or AED.
Palaces, havelis, forts and private estates, with permits and permissions handled for you.
Mountain meadows and lakes, palaces and forts, riversides, streets, beaches and city studios, all in one country.
From cover stars to new faces. Indian and international models and actors, cast through our partner agency, Auraa Talents.
Secure handling of samples and fine jewellery on set, trusted by Tanishq, Titan and India’s couture houses.
Confidentiality agreements, controlled access and embargo-safe handling of every image before launch.
Photographers, directors of photography, stylists, hair and make-up who shoot for ELLE, Harper’s Bazaar and Cosmopolitan.
More than 1,000 sets built in house, from miniatures to full-moon stage builds.
Introductions to India’s embroidery and textile workshops for set dressing, product stories and films.
Camera, lighting and grip hire in India, crew travel, stays and ground transport, plus import support for your own equipment.
Retouching, grading and edits matched to your brand guidelines, delivered in every format you need.
Teams in Thailand, the UAE and South Africa, so one campaign can travel across four countries with one company.
Straight answers to what teams ask us first.
Ask us anything elseYes. We apply for every permission the shoot needs: city and police permissions for streets and public places, heritage permissions for palaces, forts and protected sites, and drone clearances where flying is allowed. In Thailand, the UAE and South Africa we secure the local location and filming permits the same way. Lead times vary by place, so we start them at the first recce and build them into the schedule.
Yes. We handle the customs paperwork for temporary import of your camera, lighting and grip kit and clear it on arrival. If it is simpler, we hire the same kit in whichever country you shoot in and you fly in only what is specialist.
INR, USD, THB (Thai baht) or AED (UAE dirham). You get one budget, one cost report and one invoice from a single company, in the currency your team works in.
No. A shoot in Thailand is produced and invoiced by our team in Bangkok, so Indian GST is not added to it. For many international teams that makes Bangkok the simpler choice: the same April crew and the same standards, without Indian tax on the production. Every tax that does apply is set out in your estimate before you commit.
Closed sets as standard: confidentiality agreements for the crew, controlled access on set and embargo-safe handling of every image until your launch. We agree the embargo terms with you before the shoot.
For India, yes: foreign crew on a commercial shoot need the right visa, usually India’s film visa rather than a tourist visa. For Thailand, the UAE and South Africa, it depends on each person’s passport. We check every crew member, send the invitation letters and shoot details the applications need, and guide your team through them well before the shoot.
“The most detailed and streamlined planning for any shoot, event or branding. They keep every small detail in mind.”
“A start-to-finish solution, from concept to finished product. Each project very well planned and executed.”
He came to production from cloth, not cameras.
Dwarkesh grew up in the textile trade, where a fabric is judged by how it falls, how it holds colour and how it behaves in light. He still looks at every frame that way. In 2016 he carried that eye into fashion production and started April Studios, beginning with catalogue shoots for the textile houses he knew. In 2021, April stepped into print and digital campaigns, and has now spent five years in the industry.
Since 2016, with an eye for design and a gift for client relationships, he has built April Studios into a niche, trusted name in a crowded industry. Not by saying yes to everything, but by asking the right questions first. Every brief that reaches April is read twice: once for what it asks, and once for what it really needs. The budget that will not stretch, the palace that needs a permit, the light that fades by four. Dwarkesh would rather solve those on day one than discover them on set.
That is the idea April is built on. A production house that does not just deliver what was asked, but thinks it through, understands the story behind it and comes back with a solution.
No two people at April do the same thing, and that is the point. One brings craft from the days before digital, one knows talent inside out, one keeps a fast set calm, one sees every frame through to final delivery, one is already planning the years ahead. Each covers what the others don’t, and together nothing on a shoot is left to chance.
April brought Oshin in for the kind of experience that can’t be taught. She has been running productions for more than a decade, and learned the craft before shoots went digital: when there was no screen to check a frame on, every shot was planned, every detail was settled on paper and the groundwork had to be right the first time. Production is far easier today, but that foundation is what she adds to April: shoots built properly from the ground up, and run with the calm of someone who has seen it all.
Shubham joins April after more than a decade of managing talent, and it shows on set. He knows people: how to look after a first-time face and a star with the same care, and how to keep everyone in step. Schedules, call times and paperwork stay sorted, and when a day turns chaotic he is the calmest person in the room. With Shubham, the people side of every shoot is in safe hands.
Akansha is the producer you want when a shoot is moving fast. Years of running productions have given her a rare composure: she keeps a firm hold on every moving part, from crew and talent to permissions and the day’s schedule, and when something shifts on set there is no panic, only the next decision, already made. For a team flying in from abroad, that means the day goes to plan, even when the plan has to change.
Sunny looks after everything that happens once the camera stops: design, editing, retouching and the final files that reach the client. He has a creative eye and the technical depth to back it, and he checks every detail himself, so what leaves April is exactly what was promised, from the first layout to the final delivery.
Arpita runs her own talent management business, built over almost two decades, and brings that experience to April. While the producers run the shoots, she works on what comes next: the planning, the strategy and the systems that help April grow the right way. The rest of the team keeps an eye on the frame; Arpita keeps hers on the future.
