We name files for the media plan: campaign, motif, aspect, language. The editor’s private timeline names stay in the suite.
Colour-managed stills and video sit in parallel folders with a short readme: LUT, white, and what was approved.
Raws stay in our working storage unless bought. What the client receives is what they licensed.
A year later, brands ask for a new crop. If the archive is clean, that is a morning. If it is a pile, it is a new job.
We keep the working project for the revision window in the estimate. After that, restore is a quoted retrieval, not a favour.
Rubk works from Via Roma, a room with a deep shade and a table for ceramics. Clients are market traders, tile workshops and the small hotels that need the street to look like itself. Mornings are the useful hours. By noon the walls blow out, so tabletop moves indoors and the street is already done.