Notlith · Nelson
Product film in Nelson: handmade pieces, each slightly different
Nelson has a long association with studio pottery, and potters, glass artists, jewellers and woodworkers sell from studios, galleries and the Saturday market at Montgomery Square, as well as online. Their products share a problem: no two pieces are identical. Notlith makes product films remotely from your photographs that respect that variation rather than smoothing it away.
Remote production · From your photos
A glaze that never repeats
A reduction-fired glaze, a wood-fired surface or a hand-thrown rim will vary from piece to piece. A film that shows one perfect bowl can disappoint a customer when the bowl in the parcel looks different. We prefer to show the range: three or four pieces from the same batch, side by side, in the same light.
That means photographing several pieces, not one hero. We use AI-assisted motion to give each still a slow turn or a shift of light, then compare every frame with your photographs. If a generated move alters the colour of a glaze or the shape of a rim, we drop it and use a simpler cut.
Scale in the hand
Jewellery and small objects are hard to judge on a screen, and a pendant can look twice its size in a close-up. We include a scale cue in every product film: a hand, an everyday object photographed beside the piece, a ruler line or a stated dimension on screen, taken from your own measurements.
For rings, earrings and other pieces worn on the body, we use your photographs of the piece being worn, by a model or by you, with consent. We do not generate a hand wearing your ring. The way metal sits on skin is part of what a buyer is checking.
Editions, one-offs and the reorder
Some makers produce small editions, others make one-off pieces, and many do both. The film should say which is which. A one-off sold online needs its own short clip, which stops being useful once the piece sells. An edition can carry a longer film that stays relevant while the line continues.
We suggest structuring the work around that difference: a main film about the studio's range and process, plus short clips for individual pieces that can be swapped as stock changes. The process sequence uses your own photographs of the studio, kiln or bench, never a generated workshop.
From the gallery shelf to the screen
Pieces sold through galleries, in Nelson and elsewhere, often appear in the gallery's online shop too. A film for that use has to work without your voice: titles name the maker, the material and the technique, and the edit stays calm enough to sit beside other artists' work.
If you sell at the Saturday market, a portrait clip can show the stall's current pieces and remind people that you are there each week. Those clips date quickly, so we keep them short, simple and easy to replace from new photographs each season.
Catalog demonstration
See the production approach
English, adaptable to your language
Plan the details
How many photographs do you need of each piece?
For a hero piece: front, back, top, a detail of the surface and one with a scale cue. For a range, a group shot in consistent light helps us keep colours honest.
Can you change a glaze colour for a new version?
No. We show the glazes you have made and photographed, because a colour that does not exist yet would mislead buyers. When the new glaze comes out of the kiln, we can add it.
Can the film show the making process?
Yes, from your own photographs or clips of the wheel, kiln or bench. For a full process film, a short local shoot is often the right choice.
Will galleries be able to use the film?
Usage is defined in the quote. We can prepare a version without your shop links, so a gallery can show it with its own captions.
Start with your images
Send photographs of a few pieces from the same batch, with dimensions and the technique used, and tell us where the film will be shown.