Set-built room scenes and installer shoots across France

A French bedroom is nine to eleven square metres and a Haussmann ceiling starts at 2.9 metres. Room scenes staged to American proportions read as another country to a French buyer, and the sofa inside them looks like it will not fit — which, in the only measurement that matters, it will not. We build sets and scout locations to the architecture of the market the media is actually running in. Entry engagement is €8,500 for a single set day. Building a set that pays for itself: A build is expensive once and cheap three times. We design one room so it can be re-propped into three states — a season, a different household, a different price tier — shot across consecutive days on the same build with the same lighting plan. That is the difference between a shoot that covers a burst and a shoot that covers a quarter, and it is a decision taken at the drawing stage, not something you can retrofit once the carpenter has gone home. Casting for a category, not a mood board: Furniture and home energy are household-decision categories, and the household in frame has to be legible as a specific one. A couple in a rented two-room flat renovating with MaPrimeRénov'. A family in a pavillon outside Nantes replacing an oil boiler they have argued about for two winters. We cast to that, in France, with a director in the room. We do not cast a family engineered to be everybody, because it reads as nobody and the comment section says so first. On site with an installer: Energy work happens in real homes with real trades, and the frame carries compliance consequences. We shoot with RGE-certified installers, PPE worn, and we will not photograph an installation that is not to standard. A visible non-compliant consumer unit, or an outdoor unit sited under a neighbour's window, is a picture that gets screenshotted back at you by a competitor or a complainant. We scout the property, the orientation and the neighbours before the crew is booked, not on the morning. Rights, written to the media buy: Talent and location releases are drafted for what you will actually do: paid social including dark posts and partnership ads, the term, the territory, the renewal rate, and the right to hand assets to a media agency. Standard talent agreements exclude paid amplification, and most clients discover this during a legal review with media already booked. In France an identifiable building also needs the owner's written agreement, which we secure before the scout is confirmed rather than after the images exist. What arrives: A contact sheet within three working days of wrap. Retouched finals at each placement ratio. Vertical cut-downs framed at capture rather than cropped out of a horizontal afterwards. The signed release pack filed in the same folder as the images, so whoever inherits this campaign in a year does not have to reconstruct what was licensed. If you want motion, we capture short loops on the same set-ups rather than selling you a second unit day. Not this: Packshots and cut-outs on white, which is a studio discipline we price separately. Documentary photography of your factory for the About page. Events, corporate portraits, conferences. And shoots briefed as a Pinterest board with no placement list, because the propping budget cannot be set without knowing whether the image is a 9:16 hero or one panel of a 4:5 carousel — those are different rooms.