Your product, photographed in any location, any season, any format. No studio, no crew, no reshoot.
Own brand
Pixel Gallery runs its own apparel line. The Placencia collection began as a set of lobster studies and was taken all the way to a finished campaign.
An editorial ad shot against Georgian stone. A mosaic lobster on a lake boat. A painted lobster on Pulteney Bridge, cut for menswear. One motif, developed across a season.
No sample was ever sewn. No location was booked, no models cast, no crew called. The garment, the models, the light and the ad layout were built in the same pipeline we run for client work.
That is the whole argument. We run a brand end to end on this. We can run yours.
the finished ad · masthead, models, location, garment
mosaic lobster · lake boat
painted lobster · Pulteney Bridge, menswear cut
Case study
A skincare tube in Mediterranean afternoon light, with olive branches, cut citrus and oats on travertine. A coffee pack at a rain-streaked window at night.
Different categories, different times of day, and no studio was booked for either. The olive shadows fall correctly across the plaster. The water beads sit where water sits on a tube.
Watch the coffee film and read the pack as it pours. Packaging that stays legible and stable through movement is the test a brand will actually run on you, and it is where most generative video fails.
Concept work. Both brands are invented.
beauty · still life, natural light
FMCG · still for print
FMCG · read the pack as it pours
Case study
A campaign is not one image. It is a set of images that visibly belong to each other, and that is a harder thing to build than a single good picture.
These three share a palette, a set-building language, a styling direction and a quality of light. Side by side they read as one campaign rather than three experiments.
That coherence is what an agency charges most for, and it is the first thing generative tools drift away from.
hands and whiskers hold at 100%
sculpted set, same build language
same light, same palette
Concept work. Delivered up to 3264 × 5824. Print grade.
We will show you what it looks like in three contexts before you commit to anything.
Capability
Ten seconds each, sound off. Play them on your phone and look for the seam.
A live animal moving beside a person, held across one continuous take.
A second creature, moving fabric, and the set holding its shape behind them.
Skin at close range. Pores, moles, stray hairs, an asymmetric face.
Capability studies
Worked scenarios, built to show throughput rather than to report a client's results.
A fragrance bottle in Iceland, Tokyo and the Sahara. A custom model trained on the bottle captures its exact glass refraction and label texture, then composites it into generated environments with real mist, grit and grain.
50 high-res assets · 48 hours · no flightsA twelve-outfit lookbook across three cities. A character model preserves facial consistency so one model wears the digital garments in every location. No casting, no hair and makeup turnaround.
12 outfits · 3 cities · 48 hoursMeta creative fatigues in about 72 hours. From a single unbranded silhouette, material synthesis generates variation after variation, from Carrara marble to liquid gold, so aesthetics can be tested against each other rather than guessed at.
300 assets · 5 days · 100+ materialsHow it works
The workflow moves beyond prompting. We build visual systems that lock in your specific product geometry, your colour codes and your aesthetic identity, then combine them with high-end human retouching.
The result is not just realistic. It is compliant. You get the scale of generative production with the control of a traditional art director.
a composite that only holds if every edge is exact · real skin, real seed structure, no pasted join
Pricing
Continuous work across your range. Product photography, campaign imagery and social cuts.
Up to 15 finished images and 3 short-form video cuts a month, or an agreed equivalent mix. Three month minimum.
A defined piece of work with its own brief, deliverables and deadline. Priced against what it replaces, not by the hour.
Scoped and quoted before anything starts. No minimum term.
Most brands start with one product. Send us the one you sell most of.
Questions
Yes. Once payment is made you hold full commercial rights to use the visuals however you wish. We do not resell your work or reuse it unless we agree that separately in writing.
Yes, and it is the part we spend the most time on. We work to your palette, typography, tone and existing photography so new work sits alongside what you already have instead of looking like a separate campaign.
No. AI is one tool in a longer process. Every image goes through art direction, compositing, retouching, colour work and manual finishing. The AI produces a starting point. The craft is what makes it usable for a brand.
That is the only question that matters, and it is why the process is not prompting. Every frame goes through art direction, compositing, retouching, colour work and manual finishing. Anything that does not survive that test does not get delivered. Look at the packaging in the film above and judge it on that.
Yes. Everything is delivered at high resolution suitable for print, packaging, billboards and digital signage. Tell us the intended use and we will supply the right formats.
First concepts usually land within a few working days. Full delivery depends on scope, and we agree the timeline with you before any work starts.
Yes. Every project includes revision rounds, with the number set by the package. We would rather get it right than get it finished.
A conventional shoot fixes everything on the day. You get the frames you got, and changing the background, the season or the format means booking it all again. We build the scene digitally, so a change is an edit rather than a reshoot.
Fifteen minutes, no deck. Bring one product and we will tell you plainly whether this is worth doing for you.
PIXEL GALLERY