Stills, film and finishing from one studio in Lyon.
Campaign stills, product, and portraiture with controlled light. We tether, we plot, and we deliver files that survive print and crop. Retouch is finishing against a grade, not a rescue of underexposure.
We plan lighting, art direction, and capture so stills hold up in print, OOH, and digital. Tethered review on set keeps stakeholders aligned before wrap.
Treatments through principal photography. Coverage is shot for the edit and the grade: protected highlights, matched cameras, and sound that is not an afterthought.
Crew, cameras, and locations are scaled to the story. We shoot for the grade: consistent exposure, protected highlights, and usable coverage.
Picture, sound, titles, and versioning. A sixty-second master and a fifteen-second cutdown should look like siblings, not cousins who stopped speaking.
Editorial, finishing, and versioning live in one pipeline so a 60s master, 15s cutdowns, and stills from frame pulls stay coherent.
Product and environment CGI composited with plates. Look-dev starts with references shot on set. If the render announces itself, it is not done.
When a physical set cannot exist, we build it. Lighting and materials are matched to plate photography so CGI does not announce itself.
Studio and location plots for stills and motion. Repeatable light is the product. Lucky hour is a bonus, not a plan.
Plots, grip, and modifiers are designed per frame. The goal is repeatable light, not a lucky hour.
Treatments, boards, casting notes, and on-set direction. We protect the idea when the day gets short, which it will.
We sit with strategy early: references, casting, and a shot list that protects the idea when the day gets short.
Send references and say whether the job needs a still, a film, or both. We staff the job, not a menu.