A content creation agency for audiovisual work since 2004
You hand us a subject, not a file.
At every stage of your video project, the skill is here: that is why we do the essential in house. Bringing in outside help changes nothing about who answers for the result.
If you have ever handed a project to a supplier, some of these may sound familiar.
The brief, the copy, the visuals, the contacts, the permissions: you supply all of it and you chase your own colleagues, when the project was supposed to be off your desk.
The event doesn’t move.
You say the same thing at every stage, because the person listening is never the person doing.
The budget you had signed off internally no longer holds, because every request turns into a surcharge.
An agency that asks you for everything has no method. It has a form.
This is what our days look like.
Six simple stages and a loop to improve on.
Before any production, we look at your existing communications and how they performed.
Regular, defined review points, which save you time without costing you flexibility. (We know there will always be a few last-minute changes. They don’t call the concept into question.)
The concept reaches you costed from the design stage, and the same method applies to a film, an event ou an immersive experience.
What your audience has to understand — before talking about format, venue or technology.
Brainstorming
We challenge the brief before answering it. A concept is only kept if the message is clear, if it speaks to the audience, and if we are proud to make it.
The same across all three. We always start by questioning the brief.
On video — 1 min
One person to deal with, because all four disciplines are in house.
Design, video and sound, graphics, development: the same people follow your project from the first meeting to going live.
Everyone works on the same software, with the same method and the same naming. That is why a change request doesn’t wait for whoever was on it to come back: someone else opens the project and picks it up.
The concept, the script, the art direction — and the coordination when a project calls on several disciplines at once. The team that works before anything gets made.
Shooting, editing, color grading, sound recording, voice-over, sound design. Sound isn’t added at the end: it is the first thing people notice when it is done badly.
Motion graphics, 3D animation and modeling, to show the inside, the invisible and the not-yet-built.
VR applications, interactive installations, platforms. It is this team that makes it possible to take a project whole.
Twenty years, and the same first question.
A content creation agency born in Lyon in 2004, Bluevista works today in Lyon, Paris and Geneva. The tools have changed, from the first Oculus headsets to 3D web platforms. The first question has not: what is this project meant to achieve?
More than 2,000 projects
delivered since 2004.
On video — 1 min 17
You may be paying twice for the same video.
In a growing company, communication between departments gets more and more complicated. The same trade show, the same site, the same factory end up being filmed twice, weeks apart, by two suppliers who don’t know about each other.
So we start with a question nobody asks: what is being filmed elsewhere in your company, and for whom? Often the answer makes it possible to share footage instead of reshooting it, or to point each film at a different objective.
For a client whose three divisions were each communicating on their own — furniture, fit-out, structure and signage — we brought the shoots together. Each took its share of the budget for one single trip. Three films, three objectives, one shoot.
What we don’t give ground on
- 01
A concept is only kept if we are proud to make it.
- 02
We don’t design a project before knowing how it will be released: who it has to speak to, on which channels, and how to reach the most people there.
- 03
You set out a need, we propose a solution — and when we disagree, we feed the debate so we decide together.
What it looks like when it goes well.
On video — 1 min 15
A thousand-person conference in Malta, across several venues — beach, hotel, boat, evening party. A crew of three: two on camera, one editing. The editor cut during the journeys, on the coach. The last sequence was shot five minutes before the screening: two attendees remembering their day.
The film of the day was screened that same evening, at the party.
A convention in Cannes, around two thousand people. The setup was fixed: coverage, films screened during the convention, a recap film. While we were rigging, the client suggested interviewing their staff in front of the Palais des Festivals, to keep the queue entertained.
We started the editor earlier and pushed the recap film back. The interviews went out the same day.
A client was launching a new brand identity and wanted visibility. Rather than a presentation film pushed onto social media — the obvious move — we proposed a FOOH: giant barrels rolling through the city, filmed like a street scene.
The post did around ten times their usual views and likes.
The equipment is ours.
A real live control room, a set of VR headsets we take into meetings, drones, 360 cameras, a green screen studio — Unreal Engine, Blender, Cinema 4D…
It is all ours, and that changes the conversation: we don’t offer you what would have to be hired, we offer you what we can try next week.
(Yes, we put the headsets on clients’ heads in meetings. It shortens the debate considerably.)
Let’s build together the project that serves your vision.
Let’s talk about your objectives before we talk about format.