The two sectors we list and have not yet shot

We list six sectors. Seventeen delivered tours cover four of them: hospitality with 8 tours, real estate with 7, education with 1 and retail with 1. Culture and museums has none. Factories and showrooms has none. If you want a supplier who has already shot a museum or a production line, that is not us yet. This post is what we would bring to a first one, what we would have to learn on it, and what we would ask you before quoting.

The archive, by sector

Delivered tours against the six sectors we advertise, counted

Sector	Tours	Stations	What is actually in it
Hospitality	8	237	Two seafront hotels, a hotel in Budva, a coastal camp, a capsule hostel, a self-service restaurant and two bakery branches
Real estate	7	33	Seven separate tours of seven apartments in one Vlorë development, four to six stations each — seven jobs, never one
Education	1	48	One university building in Tirana: two floors, 81 information popups, two tracked floor plans
Retail	1	6	One seafront shop in Vlorë, shot at night with the shop trading
Culture and museums	0	0	Nothing
Factories and showrooms	0	0	Nothing
All six	17	324	Four sectors with work behind them, two without

Counted out of our own delivered files. These are the six sectors on our Solutions menu; nothing has been merged, split or renamed to make the table look fuller.

Why we are publishing the gap

The alternative is a sector page written from imagination, which is what a menu item with nothing behind it usually gets. We would rather have a hole in the record than a page of invented capability, partly because it is the honest thing and partly because it is checkable: everything we claim elsewhere on this site can be opened in a browser and counted, and that only means anything if the absences are declared too.

Culture and museums: what would carry over

• An interpretation layer that works. The university building carries 81 information popups across 48 stations — a building explaining itself to somebody standing in it. A museum is that same problem with better objects in it, and 81 is a real number of popups actually built, tested and delivered rather than a promise.
• Object annotation at close range. A seven-station restaurant in Vlorë carries 27 popups attached to what is on the counter. Small space, dense layer, short route: structurally the same build a single gallery room needs.
• Wayfinding. The two tracked floor plans in that university building put a marker on a plan that moves as you move. A visitor who gets lost in a museum leaves, and that is the one problem a plan inside the tour actually solves.
• Language. The whole information layer can be rebuilt in another language over the same capture, at €100 per language. Museums need that more than hotels do, and it does not require a second visit.

What we would have to learn on a museum

• Museum lighting is designed for objects, not for cameras — low, mixed in colour temperature, and frequently not adjustable at all. Our included standard colour and exposure correction is a correction, not a rescue, and we would want to test a room before quoting the whole building.
• Conservation rules. What may be lit and for how long, whether a tripod may stand where the shot needs it, and who has to be present. We have no delivered experience of working to a conservator's constraints.
• Rights in the objects. Who holds them, and whether a capture licence for the room covers the works inside it. We would want that in writing before the visit rather than discovered afterwards.
• Glass. A case reflects whatever is standing in front of it, and a 360° camera is standing in front of all of them at once. We have no published example of solving that at scale and would not pretend otherwise.
• Who writes the text. Eighty-one popups is a writing job before it is a build job. Content creation is quoted rather than listed on our rate card precisely because the scope is whatever the building needs said about it — in a museum, the curator almost certainly writes it and we build it.

Factories and showrooms: what would carry over

• Building a route where there is no corridor. The coastal camp is 29 stations across an open site — an entrance, parking, a stone road, a wooden path, a junction and the beach — where 124 navigation arrows collapse to 62 distinct connections. Outdoors there are no walls to structure a route and no doorways to hang it on, so the graph has to be designed deliberately. A yard, a compound and a plant floor are the same problem.
• Vertical circulation at scale. The Budva hotel is 64 stations from basement to third floor, 211 arrows to 126 connections, with the stairs and landings of every level given their own stations. A multi-level plant navigates the same way.
• A showroom is retail with more floor. We have one retail tour — six stations, shot at night with the shop trading — which is real but small. It is honest evidence of the craft and dishonest evidence of scale.

What we would have to learn on a factory

• Safety. Induction, protective equipment, escorts, exclusion zones and where a tripod may not stand. None of that is negotiable and all of it costs time on the day.
• Movement. A 360° photograph of a running line records the line moving. Either it stops for the exposure or the tour shows motion artefacts, and that has to be agreed before the visit rather than discovered in the edit.
• Process confidentiality. Which cells, jigs, screens and documents may not appear. We want that list before the shoot, not a retouching job afterwards — and retouching to remove something is enhanced finish, which is quoted separately and is not a fix we would rely on.
• Scale and count. A plant is bigger than a hotel and the right station count is not obvious from a plan. We would walk it before quoting, which is what we do everywhere, but here it is the difference between a workable quote and a wrong one.
• Models. We do not promise a 3D model your engineering team can open in their own software, because we have not tested that with you. If that is what you actually need, say so before you buy and we will tell you plainly what we can hand over.
• Aerial. Conventional aerial stills and video only, at €15 per aerial photograph, and flown on exactly one project in the whole archive. There is no 360° drone in the studio. A site establishing shot is a photograph, not a station you can stand in.

What we would ask a first client in either sector

1. Walk it with us before anything is priced

   Twenty minutes on site. We do not quote a building we have not seen in either of these sectors, and we would not take a job that insisted on a price off a floor plan.

2. Tell us what may not be photographed

   A list, before the visit. Objects under someone else's rights, machinery under confidentiality, staff who have not agreed to appear. It changes the station plan, which is cheaper than changing the delivered tour.

3. Tell us what cannot be switched off, moved or stopped

   Lighting that cannot change, a line that cannot pause, a case that cannot open. These are the constraints that decide whether a station works, and we would rather hear them than discover them.

4. Tell us who writes the words

   The information layer is usually the largest part of the build in both of these sectors. If your curator or your process engineer writes it, the job is shorter and better. If we write it, it is quoted separately and it takes longer.

5. Accept that you would be the first

   We would tell you, because you would find out anyway — there would be nothing in this sector to show you. What we would offer instead is a smaller first scope, a fixed price for it, and the same handover: a self-contained folder of files that is yours whether or not you ever work with us again.

The full archive dataset is in seventeen delivered tours in numbers, the limits of the format are in what a tour cannot show you, and if you are in either of these sectors and want a straight conversation about being first, the contact page reaches the studio.

Questions people ask

Have you shot a museum or a gallery?

No. Culture and museums is one of six sectors we advertise and it has zero delivered tours behind it, out of seventeen published. The nearest work is a university building carrying 81 information popups and two tracked floor plans, and a restaurant carrying 27 popups attached to objects on a counter.

Then why is culture on your Solutions menu?

Because it is work we are equipped for and want. The menu says what we sell; the projects archive says what we have delivered; this post is the difference between the two, published deliberately so nobody has to work it out from an absence.

Would you charge less for being the first job in a new sector?

No. The rate card does not have a discount column, and a lower rate would be a worse deal for you than what we would actually offer, which is a smaller first scope, a site visit before anything is priced, and a fixed price for that scope. You would also be told you were the first.

Can you fly a 360° camera over a factory site?

No. There is no 360° drone in the studio. Aerial means conventional stills and video at €15 per aerial photograph, and it has been flown on exactly one project across the whole published archive. An aerial establishing shot is a photograph attached to the tour, not a station you can stand in and look around.

Will a 3D model of our plant open in our engineering software?

We will not promise that until we have tested it with your team and your software. A model produced from photographic capture is not automatically a format an engineering department can use. Tell us what you need to open it in before you buy anything, and you get a straight answer rather than a compatibility claim.