picture locked
2017Final cut 1.2 and theatrical poster art were delivered from the São Tomé production package.
Mina Kia / Narrative film / São Tomé and Príncipe
A character cut built to survive the archive.
Mina Kia is a Haamer Ventures narrative film from São Tomé: numbered scenes, a locked 1.2 master, poster art, casting design, and hundreds of stills. The Film edition needs that package on the page — not as nostalgia, but as proof that HAAM tells stories with cameras as carefully as with interfaces.
Mina Kia1.2 · 2017
scene folders
35Production organised around numbered scenes, narrative editorial, assets, and a making-of track.
production stills
365On-set still photography covers casting through principal photography for campaign and festival use.
production base
STPA Haamer Ventures narrative film made in São Tomé and Príncipe — the same creative geography as Elsa and TEDx.
The premise
Film work is a content system with a human at the centre.
The same discipline that shapes HAAM product case studies shaped this cut: decide the character, protect continuity, version the deliverable, and leave an archive someone else can reopen.
On disk the package is complete — Docs, Render, Scenes. On haam.co the public surface is the poster, a tight still set, and the story of how the production was organised so the Film page can show a real picture, not only abstract festival language.
- 01Shoot the story
Numbered scenes, narrative editorial, and casting design kept the shoot legible.
- 02Lock the cut
Versioned renders through 1.2 produced a known public master and making-of track.
- 03Publish the frame
Poster and stills become the Film edition entry while the masters stay archived.
Production stills
Evidence from the set.
Selected from 365 stills in the Mina Kia render package — enough atmosphere and cast presence for the Film page without shipping the full archive.
On set
Cast
Location
Coverage
Detail
01
Character first
Build the cut around a person the audience can stay with.
Mina Kia was edited as a character film: scene folders, narrative assembly, and poster art all point back to one presence on screen. The interaction-design habit is the same as a product journey — decide who the visitor is following before decorating the frame.
- Scene-by-scene coverage kept continuity readable under island production constraints
- Poster variants tested how much of the face and title should carry the first impression
- Making-of material stayed secondary so the feature cut could remain the public story
02
Production system
Treat the film package as an operable archive, not a pile of drives.
Docs, Render, and Scenes separated casting design, Lightroom catalogues, locked masters, and raw scene media. That structure is what lets the film page stay honest years later: poster, stills, and a known final cut instead of an unfindable export.
- Versioned renders from 0.1 through 1.2 with Apple and timecode masters
- Casting art and sponsor design kept with production paperwork, not mixed into media dumps
- Stills and making-of prepared as reusable campaign assets
03
Public frame
Give the film a clear entry for people who never sat in the edit suite.
A case study cannot ship a 4 GB ProRes master. It can ship the poster, a set of stills that prove the world existed, and a narrative about why the cut mattered — enough for a festival page, a regional edition, or a future screening kit.
- Poster as the emotional thumbnail for HAAM Film
- Still selection over dump — a few frames that carry place and cast
- Credits that name production role without inventing a missing live site
Project record
A film package ready for HAAM Film.
Source masters and scene media remain in the production archive. This page publishes the public-facing layer: poster, stills, and the production logic behind the cut.
- Film
- Mina Kia
- Form
- Narrative short / feature package
- Location
- São Tomé and Príncipe
- Picture lock
- 2017 (version 1.2)
- Production
- Haamer Ventures OÜ
- HAAM role
- Direction, editorial, poster, and production archive
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