Rikä RK40, a whole range, one build

So instead of all that, we built the whole thing in one studio in Leeds. One controlled build, planned shot by shot so every tool was captured for the worksite it would end up in, the impact wrenches for the garage, the drills and saws for the house, and so on down the range. Everything that needed to be real stayed real. The tools were shot for real, worked on camera by the same person who built the set, so they're in the hands of someone who actually knows how to use them, and the grinder is cutting into real steel, so those are real sparks. Each tool was shot clean against a plain studio backdrop at 12K, close enough to see the grain in the metal, so the real photograph could be placed into its built world later and still be every bit the real thing.

Only then does the real product go in. Each tool is lifted cleanly off the studio backdrop, and the world behind it is rebuilt to match that shot's own camera and light, the lens, the height, the way the focus falls away behind the tool, so it sits around the product as if it had always been there. Then it is composited and graded until the whole frame reads as one photograph.

The one thing we never build is the product. The tool stays a real 12K photograph the whole way through, so you can zoom right in and it is still a real photo, sharp down to the label, with the built world soft behind it. And because every product in an environment goes into the same built world, the whole range shares one place, one light and one grade, which is how nineteen products come off a single build reading as one confident launch rather than nineteen separate shoots.