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.
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.