The brief asked for a hero still that would print at six metres and a film that could live on the same site without looking like a different campaign. We locked a key light that wrapped for the still and still read when the talent moved.
Stills were tethered and approved before we rolled motion. The colourist sat in pre-production, not after picture lock, so the show LUT was already the stills LUT.
Delivery included retouched stills, a Rec.709 master, 1:1 and 9:16 cutdowns, and a short making-of for the brand’s own channels. Six months later the agency versioned two more cutdowns from the same timeline.