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.
Coastview produces commercial photography and motion from Trieste. The still and the film share a recce so a campaign does not split in public between a lookbook that looks like noon and a cut that looks like sunset. The rooms on Via San Nicolò hold tabletop, a compact cyclorama, and a colour desk. Clients sit with tethered stills and a calibrated monitor in one visit. Product and grade are not two cities apart. Location days stay on the harbour stone we recce first. Bounce and a quiet key match the overcast; we do not gel a false Adriatic. If the weather turns, we wait or we rewrite the shot, we do not invent the hour in the suite. Agencies come with a media plan. We name masters for print, 1:1, and 9:16, keep a working project for the revision window, and hand an archive another team can open a year later without a private naming scheme.