When the stills go to a retoucher and the film goes to a colourist with no shared stills, the campaign splits in public. Feeds, sites, and OOH start arguing.
We pull stills from the same colour-managed timeline, or we send the retoucher a show LUT and a set of control frames. Skin, product whites, and black level are decided once.
Platforms compress both stills and video. A common grade is what survives that compression as one brand. A ‘prettier’ still that ignores the LUT is a different product.
HDR delivery does not excuse a rogue SDR still. We check both, on the same display, with the same stills open beside the timeline.
Agencies that traffic six months of cutdowns thank us when the stills folder is not a forensic project. That is the point of grading together.
The company began with commercial stills and grew because clients asked for the same eye on moving image. Today the roster covers directors of photography, stills photographers, colorists, editors, and CG artists who share a lighting language. We produce in studio and on location, with a finishing suite in Chișinău that receives every project — so grade, graphics, and delivery are not an afterthought handed to a stranger.