The Lab — films of our own
Two films made for no one but ourselves — where the craft stands now, and the piece that came before it.
Current standard
The Loan
The Loan — a four-part series. Five minutes, thirty-two seconds.
What this is
One person, carried across twenty-eight scenes and four parts, through a story that never happened.
A serialised film made to hold a single character across a run long enough to break most work — the same face, the same clothes, the same city, part after part. It is shot as though someone had filmed it themselves, on a phone and a pair of glasses, and it ends by saying plainly that none of it took place.
A generative film. No camera, no crew, no location — a person who does not exist, carried frame to frame through places that were never visited.
How it was made
One face, twenty-eight scenes
The difficulty in a series is never the first scene; it is the ninetieth. This one holds a single person across four parts without letting them drift into somebody else. This is how it came together.
The face, fixed first
Before a single scene exists, the character is built and held as a reference — front, turned, in profile. Every later scene is measured against it, and anything that drifts is made again.
Filmed as though someone had filmed it
Two points of view and no camera in either: a phone held at chest height, and a pair of glasses. The grammar is deliberately ordinary — the picture flat, the framing careless, the horizon never quite level — because that is what makes a built world read as an ordinary Tuesday.
Directed, part by part
Twenty-eight scenes, each written to its own seconds before anything was made, then brought back until it read true. Four parts, cut so that the last one turns the first three into something else.
Twenty-eight scenes across four parts — the same method a house's own story would be given.
The same method, for a house
Your people, or people we build for you.
A film like this can be cast with anyone. Someone invented and carried across a season, or the owner of the house themselves — the person a guest would meet at the door, put into a series of their own. Made in the short, upright shape a phone is held in, for the places your guests already spend their evenings.
Bespoke commissions remain available on request.
Earlier standard
Before this
Deep Water, the piece that preceded it, kept here exactly as it shipped.
Deep Water — a short film. Two minutes, twenty-eight seconds.
What this is
Every other film on this site began with a property's own photographs. This one began with two faces.
There was no brief and no client. It is a piece we made to test the edge of the work — to cast real people into a wholly built world and hold their exact likeness through every frame of it. The men you see are real; everything around them was made.
A generative film. No camera, no crew, no second location — the cast are real people, rendered into a world that does not exist.
Cast
The faces are real
Two people, carried frame to frame without drifting. It is the same craft that can place a founder, a chef, or the face of a house into a film of their own — recognisably themselves, in a world built to fit them.
Eren Cetindamar
Founder
Archie
Friend of the studio
How it was made
Built, not filmed
Deep Water has no location, no set, and no crew. It is made the way the films here are made — the world built first, the real people brought into it, every frame directed by hand. This is how this one came together.
The world, built first
Each place in the film begins as an empty world, rendered true before anyone steps inside — a corridor, a sundeck, the water at dusk. None of it was photographed.
Then the people enter it
The two men are real; the world around them is not. Their exact likeness — carried, never invented — is placed into a place that was never there. The same corridor: empty, and then cast.
Directed, frame by frame
Every shot is composed, directed, and brought back until it reads true — the blocking, the wardrobe, the fall of light. Twenty shots, each held to the same standard, cut into a single film of two and a half minutes.
Twenty shots, cut into one film — the same craft a brand's own story would be given.
The same craft, for your house
Put your people into motion.
A founder's story. A chef at the pass. The face behind the name. If there is someone your guests should meet, we can place them in a film of their own.