The address
It comes before
than the design.
Most studios start with the poster. We start earlier—with the story, the pitch, how a project should look before someone else has decided it for you.
By the time a project reaches its official key art stage, the most important visual decisions have often already been made by someone else—a platform, a distributor, a buyer. If you want to have influence over how your project looks, that influence needs to start earlier: in the pitch deck, the sales dossier, the initial conversation about tone and positioning.
That's the work we do before the poster even exists.
That
Includes
Visual concept development from the script or treatment phase.
Sales dossiers and pitch decks built to persuade, not just illustrate.
Direction of mood, tone and references for the entire visual identity of a project.
Positioning advice for pitching to platforms, distributors and co-producers
Cases
of
study
The Lobby— Bare Ownership
The approach
After several meetings with the client, we developed and sketched several visual concepts before taking a single photograph — giving the photographer a clear direction to aim for, rather than discovering the concept on set.
Official
&
drafts
The execution
These sketches guided the positioning, lighting, and composition during the shoot. People and sets were photographed separately, with everything integrated in post-production. This gave the team complete control over the final image, rather than relying on what could be resolved in a single day of shooting. Why it matters: The concept was finalized before production began—reducing on-set risk and giving the client a campaign built on a pre-defined direction, not one improvised in the studio.
Dada Films— Waldo
The challenge
Waldo is a documentary constructed almost entirely from archival footage—no photo shoot, no controlled set, no new footage to direct. The temptation with archival projects is to treat the title card as an editing exercise: choosing a frame and adding a title.
Official
&
drafts
The address
We approached it first as a research project. Understanding who Waldo was—his story, his era, his presence—came before any image selection. Based on that research, we composed the poster using period stills and archival photographs, unified in black and white, with the title in pink to break up the muted palette and anchor the piece.
Why it matters
A documentary without a photo shoot doesn't mean a film without direction. The absence of a studio, set, or photographer didn't lower the bar—it simply shifted the focus back to research and curation rather than production. It's still creative direction, not execution.