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.
Digitwest produces commercial stills and branded films from Plzeň. Photography leads; motion follows the same key so a campaign does not split in public between a pack shot that looks like noon and a cut that looks like dusk. The rooms on Náměstí Republiky hold a north window, tabletop, and a colour desk. Clients review tethered stills and a calibrated picture in one visit. We travel in Czechia and nearby with a small crew; local support when a story needs more hands. Square light first. Bounce and a quiet key that match the sandstone, not a sunset someone remembered from a stock library. If the window dies we add a small key that mimics it. We do not start over with a second look. Finishing stays in the same building as the tabletop. Masters are named for the media plan. We keep a working project for the revision window written in the estimate, then an archive another team can open without a private scheme.