Services /
Entertainment & Production Travel
Movement, on the clock
Talent, crew and freight moved against a schedule that does not move for anyone, including us. Tours, shoots, festivals and award season, with discretion assumed, not requested.
Read it like a call sheet
Production travel is run, not simply booked
The difference shows up at midnight when a flight cancels and somebody has to already be awake. Talent, crew and freight moved against a schedule that does not move for anyone, including us.
Here is an ordinary day.
Justkeeps plans travel around the globe from its base in Boca Raton, with clients close to home in Palm Beach, Delray Beach, Fort Lauderdale, Miami and across South Florida.
Dawn ramp, before the day starts
6:40 AM Advance
Ground confirmed at the arrival airport, unused holds released, and the driver's number in the tour manager's phone before anyone is awake to ask for it.
9:15 AM Talent movement
Private terminal, separate arrival, and a route into the hotel that does not pass the front doors. Nobody is told the schedule who does not need it.
1:00 PM Crew and freight
Twenty-four crew on scheduled service, excess baggage prepaid, not argued about at the desk, and equipment cleared before it lands.
5:30 PM Venue and security
Vehicles staged, credentials with the right people, and an egress route agreed with the venue in advance instead of improvised at the barrier.
11:50 PM Overnight reroute
A canceled flight at midnight, rebooked before the room finds out. This is the line item that stays invisible until the one night you needed it.
Holds and releases
Seats and rooms held while the schedule is still moving, released before they cost anything, and tracked so nothing quietly bills.
Settlements
One statement per production, coded the way your accountant already works, so nobody reconciles a shoebox three weeks later.
Confidentiality
Names, routes and dates known only to the people who need them. No itinerary sitting in a shared inbox.
One Desk. Two Ways to Work.
An example schedule
Cannes, festival week, talent and crew
Arrivals staged across three days, a separate route for talent, crew on scheduled service with freight cleared ahead, and a plan for the two nights the schedule always moves.
Common questions
Do you work with tour managers and production coordinators directly?
Yes, and usually that is who we talk to. You keep the schedule. We take the movement, the holds and the changes, and report back in whatever format your team already uses.
Can you move crew and freight as well as talent?
Yes. Talent movement and crew movement are different problems and we run both. Excess baggage, equipment and cleared freight are arranged in advance, not negotiated at a check-in desk.
How late can we make changes?
Until the flight closes. Late changes are the normal condition of this work, not an exception, and the pricing reflects that we expect them. It does not penalize you for them.
How do you handle privacy around talent?
Routes, names and timings go only to the people who need them to do their job. Private terminals, separate arrivals and discreet routing into a property are arranged as a default, not as an upgrade.
How does billing work on a production?
One statement per production, coded to match how your accountant already works. Holds that were released never appear on it. You reconcile once, at the end, against something that makes sense.
Do you plan travel for tours and productions?
Yes. We plan travel for artists, crews and production teams, including group flights, hotel blocks and ground transport, with one advisor handling changes. See group travel or tell us about the tour.