Bodas de Cine · Cinematic wedding production
The name was already a Spanish idiom. The work was taking it literally and building around it a production company that behaves like a film shoot.
The wedding video is the most devalued category in the business, and not because of the quality of the work.
The problem was never the shooting: the shooting was already good. The problem was the category. «Wedding video» drags thirty years of digital zoom, star-shaped transitions and a fee that gets negotiated down because the client cannot tell what they are buying. Any studio that wants to charge what it is worth has to start by leaving that word behind. The way out was in the language: in Spanish, saying something is «de cine» means it is spectacular, memorable, worth telling. Bodas de Cine promises that feeling and delivers the format in the same three words, explaining nothing. And the domain is the brand, so there is no translation, no short version, no logo to memorise apart from the name itself. From there the commission stopped being a website and became holding that promise up on every screen.
Three frames and a sequence
The logo is three film frames with their perforations: him in the first, her in the second, the two of them in the third. It is not an illustration of a wedding, it is an edit sequence, which is exactly what is being sold. The story is told before anyone enters the site.
The site does not describe a shoot, it behaves like one
The interface is a camera viewfinder: REC blinking, 4K 60FPS, aperture, ISO and a running timecode. Sections are not sections, they are numbered scenes, and the cover moves from Scene 01, The prelude, to Scene 02, The promise. Whoever arrives is not reading a services page: they are inside a take.
The packages are film formats
Indie Short, Feature Film and Legacy Masterpiece. Nobody compares an independent short to a feature, so the price ladder stops being a list of hours and becomes a decision about what kind of film you want to exist. The top tier is called Collector's Edition and delivers the digital negative in a box.
Even the portfolio speaks cinema
Every portfolio piece is tagged with its shot: Grand Wide Shot, Emotional Close-up, Urban Low Angle, Macro Lens Detail, Golden Hour Tracking. Shooting vocabulary used as a taxonomy, showing the craft without boasting about it.
Three frames: him, her, and the two of them in the third
The cover advances through numbered scenes, like a script