Forvr Collection.

A black tracksuit and balaclava with blue contrast stitching and the Forvr mark embroidered on the chest. Thin, bright stitching shows every mistake, which made it the right test: the same piece had to read correctly against chain link, a corrugated shutter, a wet underpass, a stairwell and a graffiti alley, in different light and at different distances. The blue in the stitching is what ties the set together, picking up the shutter, the underpass lights and the enamel on the signet ring.

A jewellery line built around the same mark: a signet ring with FORVR set in blue enamel, the mark cast as a pendant, a chain that spells the name, and iced rings, earrings and grills. Metal and stones give away any inconsistency, so this is where we learnt to build each piece once as a reference and place it in the frame, rather than describe it and hope.

These films are where we tested what the method could do with movement: a figure sitting among a flock of sheep, a horse on still water, and the Forvr mark drawn in the air with a torch. None of them is selling a product. They were made to find out where generated film holds up, where it breaks and how to cut around it, and those answers now shape every film we make for clients.

Everything that worked here was written down and turned into the system every client job now runs on.

Identity first

The look of the brand is fixed before a single frame is made, so every image is judged against the same thing.

One sheet per product

Each piece is built once as a reference sheet from several angles. Every frame pulls from the sheet, never from a description.

One grade

Stills and films are graded together, so a set reads as one shoot rather than a run of separate generations.

Saved workflows

Each step lives in a saved workflow. Swap the product, the moodboard and the brief, and the same process runs for the next brand.

A brand world
of your own?

Films and images that agree with each other, built from your real product. The first conversation is free.