Stills
A stills set from the day — sequenced, printed, ready to live. Not a handful of JPEGs.
The library.
Not a clip.
Stills, a short film, verticals, and the long cut — from one production. Commissioned work is shown privately, cleared per client.
Reels
Verticals for the phone, cut the same night or drawn from the library. Same grade as the long film.
Short film
A film with a point of view, made to be watched twice.
Long form
The longer cut when the story needs duration — a property, a night, a year.
The cut
Picture and sound finished as one. Editing is the work, not an extra.
Launch
The week a place or campaign goes public. A plan first, then the frames that hold it.
Standing
Stills and short films on a cadence, for rooms that stay open.
Select
What has to exist when we leave: the stills set, the film, the verticals, and what stays out of frame.
Cut
Picture lock first. Sound as part of the same pass. Nothing ships as a dump of files.
Grade
One look across stills and motion, so a reel and a long film belong to the same night.
Hold
A private library, delivered in writing. Shown to no one else unless you say so.
- Stills
- A sequenced set. Print-ready.
- Motion
- Reels, a short film, or the long cut — specified in the brief.
- Cut
- Picture and sound, finished as one.
- Cadence
- Some rooms stay open. We return on a written rhythm.
- Viewing
- Commissioned work is shown privately, cleared per client.
- Reply
- We write back within one business day.
We write back within one business day.