When Burn the Boats joined forces with ThruDark and Call of Duty for Endowment, the goal was clear: create a film that captured the precision, grit, and pride of those who serve. Directed by Scott Elliott and produced by Sid Sadowskyj, Frankie Tinsley, and Jimmy Hill, the entire production — from first meeting to final delivery — was completed in just 12 days.

It was filmmaking at full intensity: a fast shoot, and an even faster edit.

The Mission

From the outset, the Burn the Boats team committed to one principle — authenticity above all. Every location, every shot, and every movement had to feel real. Working alongside Staz Stazicker, Jason “Foxy” Fox, and Louis Tinsley — all former UK Special Forces — the production was built on lived experience and respect for the subject matter.

Pre-production ran like a briefing. Locations were scouted for realism — coastal ground, industrial structures, and elevator shafts that demanded precision and strict safety planning.

Sid Sadowskyj and Frankie Tinsley led the charge, driving the production forward with focus and intensity. Every sequence was planned with the discipline of an operation, and executed with pride.

"We can bring the Pro Tools session with us in the field and watch and record and quickly put it together, to test whether it works or not. If you bring all the recordings back to the studio, you don’t know if you’ve missed the moment."

On Location

The shoot was lean, physical, and unforgiving — multiple locations, minimal downtime, and total commitment from everyone involved. From filming in the sea to abseiling down elevator shafts, each sequence was designed to push realism while keeping safety at the heart of every decision.

Scott Elliott directed with control and confidence, capturing the grounded tension that defines real-world operators. Jimmy Hill oversaw logistics, ensuring every move, setup, and stunt landed on schedule.

“It wasn’t about spectacle,” says Tinsley. “It was about truth — how it feels to be in those moments. Every scene was earned, not staged.”

Collaboration Across Continents

Behind the scenes, Burn the Boats worked closely with the ThruDark marketing and legal teams, the Call of Duty Endowment team, and the Suits in Los Angeles alongside the Legal Department in New York.

As you can imagine, with a billion-dollar franchise, every frame came under scrutiny — lawyers from LA and New York ran over the edit alongside the Call of Duty creative team, ensuring that every visual, detail, and sound aligned perfectly with brand and legal standards.

Coordination was constant — story, visuals, and approvals moving back and forth across time zones in real time. Every creative and legal step was cleared, refined, and delivered with precision.

That partnership — between UK production and US studios — ensured Endowment was released exactly as intended: powerful, authentic, and on brand.

‍The Edit: Three Days, No Sleep, No Breaks

When the cameras stopped rolling, Scott and Frankie locked themselves in the edit suite for three straight days — cutting, grading, and mixing under pressure. No breaks. No shortcuts. And somehow, no bones broken.

The pace of the film mirrors the pace of its making: sharp, tight, and deliberate. The colour grade drew from the textures of the real world — steel, smoke, and saltwater — while the sound mix carried the heartbeat of the mission. Every shot and sound was placed with intent.

It was filmmaking at operational speed — fast, focused, and fully in control.

‍

“This is the best release we’ve ever had.”  

The Result

In just twelve days, Burn the Boats delivered a film that looked, felt, and hit far beyond its scale. The response was immediate — and deeply felt.

“This is the best release we’ve ever had," said Call of Duty Endowment Team.

For Burn the Boats, that single line said it all. Endowment was more than a film; it was a statement of craft and conviction. A testament to teamwork, precision, and pride — and proof that when every frame is earned, the result speaks for itself.

‍