Six pitches a month, one visual archive.
Every treatment starts as a gallery. Won or lost, it stays searchable, so the next pitch starts from the last one rather than from an empty page.
Read the storyThree ways of working with cine.gallery, from a commercial production company, a photography studio and an in-house brand team. Each is a composite of how members use the product; no organisation is named.
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Composite accountsDrawn from how members work. Details are representative, not attributed; nothing here is a quote.
Every treatment starts as a gallery. Won or lost, it stays searchable, so the next pitch starts from the last one rather than from an empty page.
Read the storyReferences are gathered while scouting and arranged into the order of the day. The client gets one link, and it is current until the shoot.
Read the storyApproved imagery lives in a team gallery with downloads on. Partners get a link instead of a transfer, and the link is the only version.
Read the storyA production company, a photographer and a brand team have almost nothing in common in what they make. What they share is how references move: gathered fast, arranged for someone else, and needed again long after the job that found them.
The accounts above are how those three habits look in practice — and what changed once the references lived in one place instead of five.
A pitch, a shoot or a campaign gets its own gallery on day one, and everything found for it goes there first.
Clients, partners and departments each get an address that stays current. Nobody is sent a v2.
Won or lost, shot or shelved, the gallery stays searchable — so the next job starts from the last one.
Start with one job: one gallery, one link. Fourteen days is long enough to know whether you can go back.
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14 day trial for Solo and Team plans. Cancel any time.