From idea to final frame.
The full creative pipeline, made visible. Each stage is a deliberate decision: the model is a camera, the workflow is a crew, and the screenplay is the authority.
The seed: a premise, a tone, a question worth answering.
Why each choice was made.
The focus is artistic decision-making: not merely the list of models used.
Why the cardboard stays cardboard
The props were never 'fixed' to look real. The artificiality is the comedy: a realistic pipe would have killed the joke.
Honest artifice over accidental realism.
Why the showroom is photoreal but the people are not
The tonal contrast is the story. A photoreal environment with uncanny stitched inhabitants creates tension that a fully realistic or fully stylized film could not.
Contrast carries narrative.
Why the boundary frame is reused, not regenerated
Each shot's last frame is handed to the next as its first-frame anchor. Regenerating the transition would introduce drift; reusing the frame locks identity across the cut.
Continuity is engineered, not wished for.
Why the witches are fog before they are figures
The witches emerge from and return to the fog. Presence before personhood keeps the horror atmospheric rather than literal.
Restraint is scarier than revelation.