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.
Seacount Film sits on Rue de la Corraterie, a quiet room off the lake. Clients are watch ateliers, the institutions that borrow objects, and the hotels that need a plain record of a hall. Days are short and plotted. Macro on the bench in the morning, a portrait by the lake window after lunch, grade before the courier.