How we work

Stills and film share one plan from the first recce to the last file.

Recce
A walk and a one-page note of stills versus motion.
A short call first, then a visit to the room or the street at the hour we would shoot, so nothing on the day is a surprise.
You get: a crew plan and a written estimate.
Plot
One key for both. No second look in the truck.
We plan the day around light and people, not around the kit. Every outdoor plan has an indoor fallback already agreed.
You get: a call sheet and a shot list.
Hold
Tethered review. Selects before the cloud moves.
One crew, one light plan. The still is the rehearsal for the film, so both come out of the same set-ups.
You get: a contact sheet the same evening.
Grade
Cool without going dead. Whites decided once.
Grade, retouch, edit and sound happen in our own room, against the same reference stills, then versions are cut for each place they run.
You get: masters, versions and an archive.
Name
Masters labelled for the media plan.
Grade, retouch, edit and sound happen in our own room, against the same reference stills, then versions are cut for each place they run.
You get: masters, versions and an archive.

When the files arrive

Counted in working days from the end of the shoot.