We name files for the media plan: campaign, motif, aspect, language. The editor’s private timeline names stay in the suite.
Colour-managed stills and video sit in parallel folders with a short readme: LUT, white, and what was approved.
Raws stay in our working storage unless bought. What the client receives is what they licensed.
A year later, brands ask for a new crop. If the archive is clean, that is a morning. If it is a pile, it is a new job.
We keep the working project for the revision window in the estimate. After that, restore is a quoted retrieval, not a favour.
Fllect House sits in Ghent: brick, linen, a colour desk, a canal two streets away. We produce commercial stills and films that should feel like they were made by people in a room, because they were. The house is the plot. Windows are the key until they are not. When we add HMI, we do it to match the weather, not to invent a different hour. Agencies who want neon should not write. Agencies who want a partner for print, site, and a short film in one language should.