We shoot chrome and grey references in the same light as the plate. HDRI is a start, not a finish: we rebuild key and edge in the renderer until the contact shadows sit.
If the physical product cannot be there, we still light an empty stand so the CG object inherits the same wrap. The test is simple — if a producer can point to the render in the first second, we go back.
Materials are photographed, not guessed. Polarisation, roughness, and a measured white help more than a downloadable ‘studio HDRI’ from a different room.
Grade happens with the composite, not before. A plate graded in isolation will fight the CG no matter how good the look-dev was.
We deliver layered files when the contract asks, and flattened masters when it does not. Either way the public image is one picture.
Dgti produces commercial photography and motion from Lublin. Stills and film share one plot so a campaign does not arrive as two vendors, and a lookbook does not argue with a cut in public. The rooms on Krakowskie Przedmieście hold tabletop, a compact cyclorama, and a colour desk. Clients review tethered stills and a calibrated picture in one visit. Product and grade are not two appointments. Location days stay on the plaster we recce. Bounce and a quiet key match the lane; we do not gel a postcard onto a grey street. If the weather turns we wait or we rewrite the shot. 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.