We shoot chrome and grey references in the same light as the plate. HDRI is a start, not a finish: we rebuild key and edge in the renderer until the contact shadows sit.
If the physical product cannot be there, we still light an empty stand so the CG object inherits the same wrap. The test is simple — if a producer can point to the render in the first second, we go back.
Materials are photographed, not guessed. Polarisation, roughness, and a measured white help more than a downloadable ‘studio HDRI’ from a different room.
Grade happens with the composite, not before. A plate graded in isolation will fight the CG no matter how good the look-dev was.
We deliver layered files when the contract asks, and flattened masters when it does not. Either way the public image is one picture.
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.