Call SheetProduction
EMK × ENIGMATIK
Chapitre 01 : The Beginning — two studio days. Day one is the object, day two is the wearer.
Three fragrances on three grounds under one lighting package. Continuous light, so the cine body and the stills body see the same moment and a photograph is the film, stopped. The launch film's product passes are shot here in full — silhouettes, alignment, the split, the three portraits, the morph and the line — and every setup is milked for stills, details, a vertical take and a clean plate before the ground changes.
FX6. Hero motion on the slider and the locked morph passes. Nothing moves that does not need to.
FX2. Probe and macro — the K, the cap, the letterform, the mist. The 9:16-safe take on every setup.
A7R V. Forty product photographs shot inside the film's own lighting passes. A clean e-comm frame closes every world.
Matte white, black cap, black letterforms. White on black — evening and intimacy. The Desire Enigma.
Matte taupe, black cap, black letterforms. Taupe on taupe — presence, night. The Magnetic Enigma.
Matte black, fluted cap, silver letterforms. Black on light — daytime, cold hard light. The Thrill Enigma.
Camera, lights, grip and surfaces staged. Hero units cleaned with gloves, blower and microfibre. One untouched unit per fragrance set aside and not handled again today.
Height, focal length, exposure and the 9:16 safe area settled before anything counts. Label readable, the black mirror cap checked against every source in the room.
The glow, the drift and the return. Bottle appears from black, the half-turn, cap and neck macro, then the cross-frame move that cuts to MagnetiK. Fourteen stills inside the same light. Smoke and glass plates picked up as they present themselves.
Lens and product clean, ground swapped, cards checked.
The disappearance and the half-lit resolve. Shadow sweeps off the bottle, a graphic rotation in the mirror sheet, the shadow pulled back with the K held readable, then macro on logo and cap. Frame against the taupe-on-taupe test from the 11th.
Missing details, the clean plate, the vertical take. Nothing breaks until the list is ticked.
Backup verified during the break. Soft ground, diffusion and the backlight built while people eat, so the afternoon starts on a lit set.
Remaining stills and hero variations. Shadow-only frame, bottle with hand, the clean e-comm frame.
Contrast, halo and the long shadow. Bottle emerges from soft dark into glow, the ripple foreground through water and glycerin, the moving highlight through voile and prism. Thirteen stills. The iridescent and fabric plates come off this ground.
The line — three bottles fully lit for the only time, each turned to the K, three shadows behind. Then the locked-camera morph passes and the opening silhouettes. Whatever plates are still missing from T01–T10 are shot clean on empty ground.
Shot IDs against the tracker, focus, labels, reflections, exposure. Footage on two drives and verified before anyone leaves the room.
The pre-production deck runs the day MorphiK → MystiK → MagnetiK from 07:30 at Studio House, Al Quoz. The latest production instruction moves it to Studio City from 08:30, MystiK first. This sheet follows the instruction. Confirm studio and ground order before the seamless is pre-lit.
Lock height and focal length. Master. Hero move. 9:16-safe take. Three to five stills. Detail — logo, cap, texture, reflection. Clean plate. Only then break the setup.
Bottle clean, label straight, cap seated, reflections intentional. Best take called out loud and ticked on the storyboard before the ground changes.
Two dressed rooms with window walls, furniture on wheels, blackout where an evening ambience is needed. Three wearers, each carrying one fragrance and one look. The fragrance is not the hero here — the identity is. Bottles sit near faces, in hands, in the foreground soft, through fabric, in mirrors. Wardrobe, hair and room changes are the enemy of the shooting windows; keep every reset small.
FX6 on gimbal and tripod. Portrait families, the fashion passes, the walk-throughs. The 16:9 master on every action.
FX2 handheld. Wrist, neck, cap twist, mist, hand entering frame. The 9:16 take of every micro-action, shot natively.
A7R V and A7 IV. Twenty-five wearer photographs — four portraits, two mirrors, one wide and one gesture per wearer, plus the group.
Wall, mirror, practicals, camera, lighting and the data station in the Salon.
Hair, make-up, wardrobe look one, continuity stills. Releases signed here, before any capture — paid media and synthetic-likeness use included.
Evening. White and black. Warm, low ambience. Bottle near the face, wrist, neck, in the hand; walk past lens; sit and lean; cap twist; bottle in the foreground. Tight crops and profiles. Slow.
Wrist and neck spray loops, cap twist close, the mist crossing frame, walk into shadow, pull-focus on the bottle. Repeat each micro-action cleanly for the edit.
Night. Black. Deepest fall-off. Confident pickup, the mirror, bottle at chest, the low three-quarter this world owns, fashion walk, hand enters, close profile. Clean silhouettes and hard shadow.
Mirror rotation, bottle pickup, walk through shadow, logo push-in, hand covers lens and reveals. The shadow-sweep reveal that bridges from MystiK.
Missing lifestyle frames and social-safe versions before the Salon is released at 14:00.
Move to the Flat. Soft light and drapery set while people eat. Look three on.
Day. Sand and white linen. Cold, hard morning light through diffusion. Bottle through translucent fabric, glow on the face, hand through light, bottle on the palm rotating, slow turn, soft-light walk, bottle foreground.
Fabric pass, glow turn, bottle-on-palm orbit, ripple foreground, walk into soft light, reveal from silhouette.
The handoff — male to female, bottle passed through a line of light. Two and three wearers in one frame, three products between them. The wide environmental with all wearers small in the space, and the group photograph.
Gaps in S08–S20, final lifestyle selects confirmed on the monitor before anything is struck.
Cards offloaded and verified twice. Rooms back as we found them. Studio handed over by 19:00.
The deck confirms The Flat and Terracotta, with Terracotta carrying MagnetiK. The latest instruction runs Salon → Flat. This sheet follows the instruction. Confirm which pair is booked with LUMA before the 12th.
Day — sand and white linen. MorphiK Aura, morning, cold hard light.
Evening — white and black. MystiK Dépendance, warm and low.
Night — black. MagnetiK Shadow, deepest fall-off.
Two base looks plus a neutral backup. Photograph hair, make-up, wardrobe and accessories before every look change.
Ticks, verticals and notes save to this iPad only, the moment you enter them. A capture can be undone, but it asks first. Export before the day ends.
Two different documents in one. Day one is the hero film, shot by shot, product only — three dark forms drift, align into one, divide into three, each is seen alone, black becomes white becomes taupe, all three stand in a line — plus the library captured inside the same light. Day two is the wearers: classic, mirror, gesture, underground, unique, group. Nothing from day two is in the film; everything from day two is the campaign and the feed. Frames marked REAL FLACON are rendered against the actual bottles — frame against those. The rest are look-alikes or sketches for framing and light only, with the bottle kept soft on purpose. Red marks show the camera move.
Shot in full on day one with nobody in it. Sixty seconds, silent-capable, loop-safe, built to sit under the website headline: every wide leaves the upper half or one side dark and empty so type can live there. Shadow is the set. Nothing is fully seen until the last ten seconds.
Three dark forms drift in blackness, lit only along their edges. The names are unreadable. The question is asked before a bottle is seen.
REAL FLACONA1Three rim-lit outlines, low in frame, drifting slowly on the slider. Bodies black, edges only. The upper half of the frame stays empty for the headline.
The probe runs along a single rim-lit edge. A line of light in black, nothing else. Two speeds.
The same three forms stacked for 9:16 — one above another, drifting. Shot natively, not cropped.
The three forms converge and overlap until they resolve into one outline — a single bottle, sharper than any of the three that made it.
REAL FLACONB1Locked camera. The three forms slide over each other on the turntables until one outline remains. Shoot the move slow; it will be sped in the edit.
The resolved silhouette held in the right third. The left two-thirds black and empty. The frame the website line sits beside.
Macro on the single outline as the rim light hardens. The first hint of the cube geometry.
The bottle divides. Three draw apart across the frame — black, white, taupe. The frame the whole film turns on; the split is the Scent Palette.
REAL FLACONC1Three draw apart from one point into their own light on the reflective black ground. Shoot the separation in both directions.
The three fully separated, small and low in a wide black frame. Reflections beneath. Empty above.
Camera at ground height, the three bottles and their mirror images meeting at the horizon line.
Three portraits, one per fragrance, each on its own ground. Then the probe lens travels across the lettering at grazing height. Fragments, rotations, nothing that resolves.
REAL FLACOND1Portrait. The white body on black acrylic, one tight pool of light, deep fall-off. Half-turn until the K reads.
REAL FLACOND2Portrait. Hard side light, the shadow sweeping off the taupe body on the metallic ground, black negative fill. The disappearance and the half-lit resolve.
REAL FLACOND3Portrait. The black body against the pale ground, backlight halo, the long shadow running toward camera.
REAL FLACOND4Grazing height, travelling across the lettering on each bottle. Letterforms as landscape. Three passes, one per world.
Macro on the black mirror cap meeting the matte body. The reflection in the cap controlled — it shows the light, not the room.
A quarter-turn seen through the 90mm, the corner of the cube crossing the pool of light. Cut material.
The spray, backlit, crossing black. The only movement in the section that is not the camera.
Black becomes white becomes taupe. Only the appearance changes. The morph is why the film is called Appearances.
REAL FLACONE1Locked rig. Three passes, one per bottle, nothing moved between them — same mark, same height, same light. The edit dissolves between them.
The same three passes, macro on the letterform, so the type itself changes colour without moving.
Three passes again at 9:16, bottle in the centre third, empty above and below.
All three side by side, fully lit for the only time, each turned to the K. Three shadows behind them — one hard, one barely there, one dominant. Mystery becomes recognition.
REAL FLACONF1The three in a line, fully lit, turned to the K. Three shadow identities behind. The film ends here unless the alternative is chosen.
The same line sitting in the lower third of a wide frame. The upper two-thirds empty for the logo and the call to action. The website's last frame.
Only if ENIGMATIK chooses the July ending: the three overlap back into one outline, reversing B1. Shot on the same locked rig so both endings exist.
The empty lit ground with the three shadows and no bottles. The frame the film fades into, and the clean plate for the end card.
Not a separate exercise — the film, stopped. Stills captured on the same grounds in the same hour, plus the 360° rotations added on 1 September and the plates that carry the transitions.
Each fragrance front-on, on neutral ground, identical scale and treatment. The three the shop needs at the same size. Shot last on each ground, before it changes.
One full turn per bottle on the turntable under the hero light. Locked, slow, label passing through the pool of light. Three passes.
Front hero, 45°, side profile, top three-quarter, low, high, cap off — the forty across the three worlds, P01 to P40.
K faces, caps, letterforms, condensation on glass. Nine macro details, three per bottle, and the three macro moves for the shorts.
T1Smoke across black acrylic and smoked glass, condensation on a dark edge, the clean dark surface. T01–T03.
T2Brushed metal and mirror, the double image, a hard shadow sweeping across. T04–T06.
T3Voile catching a moving highlight, the ripple, the iridescent pass, the empty clean plate. T07–T10.
Three people, one fragrance each, one look each. The fragrance is never the hero — the identity is. Handheld intimacy, cinematic realism, grain, mirrors, skin, smoke, chrome, glass. Modern Paris × Dubai after dark: private club, underground gallery, the hour before going out. Classic frames the shop can use, unique frames the feed will remember, underground frames the culture will share. Every wide keeps one side empty for text.
The default is direct and unglamorised. Eye-level three-quarter, profile against fall-off, tight fragment, wide with negative space — each on the wearer's own ground and in their own hour.
Direct, unglamorised, editorial. Bottle in hand at hip height or not in frame at all. One per wearer.
Silhouette and outline. Almost no product visible. The wearer becomes one of the three forms from the film.
Jaw, collarbone, hand, cuff. A part standing for the whole. Fragments rather than portraits.
Figure to one side, two-thirds of the frame empty and dark. Built for text. The workhorse of the season.
Presence and stature, from below. Reserved for MagnetiK Shadow; nobody else gets this angle.
Identity doubled — one person, more than one self. The mirror is the one prop that travels through all three worlds.
M1The wearer and the reflection both sharp. Hard side light for MagnetiK, warm practical for MystiK, window diffusion for MorphiK.
Only the reflection, cropped by the mirror's edge. The wearer implied, not shown.
A hand sets the bottle down in front of the mirror; two bottles appear. The bottle doubled like the wearer.
The camera rotates around the mirror until the reflection replaces the person. For the shorts.
The bottle handled the way it will be handled at home. Wrist, neck, the cap, the palm. Repeated cleanly so the loops cut.
K1Wrist to neck as if applying, the bottle soft in the foreground. The gesture the day rests on.
K2Mist crossing in front of neck and jaw, backlit. The one frame where the product is felt rather than seen.
Hands only. The black mirror cap turning. Three clean repeats for the loop.
Bottle on the open palm, rotating slowly, camera orbiting the other way. Scale and handling.
K5Male to female. Both figures and the bottle as edge-lit silhouettes, hands meeting in a thin line of light.
Nightlife without a club, underground art without a gallery — built from light, smoke, skin and surfaces. Not gothic, not cyberpunk, not TikTok. Emotionally intelligent nightlife: the private moment before the public one.
A single warm practical in a dark room, smoke drifting through it, the wearer half in it. Handheld, grain pushed.
Wearer walks away from camera into the fall-off until they are a silhouette, then gone. Reverse it for the reveal.
Fast handheld whip off the wearer into black, and out of black onto the next. The blur transitions that stitch the shorts.
Macro on a hand against leather, velvet at the collar, the bottle's corner touching skin. Texture as identity.
The wearer seen through a glass beaded with condensation, or a cold bottle sweating on a dark table beside a hand. Night humidity.
A reflection in a chrome surface — a tray, a lamp base, the cap itself — with the face distorted and only the eyes sharp.
Direct to camera, no smile, no dialogue. Three seconds of eye contact per wearer. The line of the brand without saying it.
The hand covers the lens and pulls away to the face in hard light. The most-shared frame of the month if it is done right.
Low, rhythmic light change on a locked face — a practical dimmed and raised on a count. Nightlife without a venue.
Frames that exist only for this brand. Fabric, water, light and glass doing the work that a location would usually do.
Q1The wearer behind translucent sheer, light diffused across the face, the fabric edge catching iridescence.
Q2A hand passes slowly through a shaft of light above a ripple foreground.
Voile drawn across the lens, the wearer revealed behind it. The transition between worlds.
Overhead, locked. The wearer on the drapery in the Flat, the bottle beside the hand. Sand and white linen.
Q5Walk through a hard band of light, the long shadow sweeping the wall. Wide, with negative space for text.
Backlit silhouette; the fill comes up on a count and the face resolves. The film's language — shadow then clarity — on a person.
The wearer shot through a pane of glass with the room reflected over the face. Two selves in one frame without a mirror.
Each wearer against the same wall in their own light, shot from the same mark, so the three frames cut together as a triptych.
The collection worn. All three in one composition, then figures small in the space.
Two or three in one composition, three products between them. Restrained, no interaction beyond the handoff. The group photograph.
Figure small in the dressed space. The room as the world. One per wearer.
From 09:00 at the product studio. A monitor, seating and refreshment are set aside. The first locked frame on each ground is shown before it is shot in anger; the taupe-on-taupe match and the cap reflection are the two things to sign off on the day.
Anything needing a client decision — the film ending in particular — belongs in this window.
Welcome from 09:00, not required before 11:00. Fragrance-to-wearer allocation should be locked before the second wearer is prepared at 10:30.
Marie is on set both days as brand manager and on-ground liaison. Approvals on the day follow the deemed-approval process: a decision requested on set is deemed approved if no response arrives within the stated window.
Two female and one male from the wearers in the deck — Yana, Kamila, Carolina, Seroshi, Jalal, Wassim, Cynthia, Elahe, Lamar, Razan, Victoria, Natalia, Bruno, Taima, Mounir, Usman, Shahmeer. The final three and their fragrances are the client's call.
Hands clean, accessories minimal, performance restrained and repeatable. Capture the same action for photo and for motion.
Each fragrance, every face, on clean ground, consistent in scale and treatment. The website needs all three at identical size, so the e-comm frame closes every world on day one before the ground changes.
Not in this production: location and street photography, packaging and discovery-set photography, paid media production and spend.
The deck ends on The Line — three bottles as a set. The July call described everything morphing back into one. Both are coverable on day one (F1 and F3); the edit needs one answer.
Flat + Terracotta per the deck, Salon → Flat per the latest instruction.
Three wearers from the pool, one fragrance each.
1 September meeting. Dates moved to 13–14 September.