Who We Are.
What we're passionate about...
WHAT GETS US OUT OF BED...
We got into this because we love making things that look incredible. Not just technically sharp — actually worth looking at. The kind of image that stops someone mid-scroll or makes them watch the whole thing without realising. That's what we're chasing on every project, whether it's a sixty-second brand film or a full campaign shoot. We work with people who care as much as we do. If that's you, we'll get along fine.
SO WHAT DOES THAT LOOK LIKE?
We shoot photo and film for campaigns, events, brand stories, and editorial projects. Some jobs are one day. Some are a week. Either way, you get both of us — fully across your brief, on set, doing the actual work. We don't outsource, we don't overcommit, and we don't take on projects we can't give everything to.
PAST COLLABORATIONS
Between us, we've created content for Spotify Studios, Prime Video, Paramount+, Amazon, Optus, and Apple — mostly through Hannah's work as one of Australia's leading digital creators. That experience shaped how we think about visual storytelling, and it shows up in everything Dark Horse makes.
THE TEAM.
Creative Catalyst | Media
Hannah Pengilly
Hey, I'm Hannah. I've spent the last five years making content that people actually watch — building a following of over five million across TikTok, YouTube, and Instagram, and creating work for brands like Spotify Studios, Apple, and Prime Video. What that taught me is that the best visuals aren't technically perfect, they're emotionally true. That's what I bring to every Dark Horse project. When I'm not on set, I'm usually chasing waves around Batemans Bay or annoying our four dogs on the farm.
Attention Architect | Creative Director
Geoff Pengilly
I'm Geoff — Pengo to most people. I've been behind a camera for over 35 years, which means I've shot almost everything: architecture, motorsport, hospitality, live performance, portraiture, real estate. That breadth is genuinely useful — I can walk into any environment and find the shot. What I love most is motion: the way a well-cut film can make you feel something before you've processed what you're even watching. That's what I'm always trying to make. When I'm not on a shoot, I'm probably at Bunnings, in the surf, or hunting for the best coffee in a 50-kilometre radius.
HOW WE DEFINE SUCCESS
A job's done well when the client sees the final cut and feels like we understood something about them they hadn't quite put into words yet. That's the bar we're shooting for every time.
