Photo manipulation for movie key art.

Most independent films do not have a poster shoot. They have production stills, a handful of frames, and a deadline. Photo manipulation is how those stills become one selling image: compositing, cleanup, lighting continuity and a grade that matches the cut — not a collage of screenshots.

What you get

• ✓ Seamless composites from cleared photography
• ✓ Retouching that keeps talent looking like the film, not a beauty ad
• ✓ Cinematic color and atmosphere matched to the cut
• ✓ A layered master so titles and crops can move later

What we need from you

The highest-resolution stills you have rights to use, plus three reference posters. A sharp close-up beats a compressed trailer grab. If you have no stills yet, say so — we can concept from type, illustration or licensed imagery instead of faking a city that is not in the movie.

Drix Agency is a human-designed poster studio. We do not sell unedited AI one-sheets as finished campaign art. You must have rights to photography and likenesses you send. We do not clear stock, union stills or studio IP unless that is scoped. See FAQ and key art design.

How this sits in a campaign

Manipulation is in service of the key art system. The one-sheet, the streaming crop and social sizes should feel like one film. Independent productions can start with indie poster design. First concepts typically arrive in 24–48 hours.

A usable brief names the stills you can clear, the sizes you must deliver, and three posters you respect. Do not ask the composite to show a city that is not in the movie. If the cut is still moving, we can lock composition and leave a hole for a later frame. That is cheaper than rebuilding the lighting after picture lock.

Photo manipulation questions