Stills, film and finishing from one studio in Seville.
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.
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.
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.
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.
Type, diagrams, product callouts, and brand systems built to re-version. We do not deliver a single After Effects file that only the author understands.
We design motion that can be re-versioned. Lower thirds, openers, and product callouts follow a system, not one-off animations.
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.