R1
Measured before touched
The gauge map comes first, every time. If a panel can't safely take correction, you'll know before we start — not after.
THE STUDIO
The room is a spec, not a backdrop.
Long-term results are decided by the environment the work happens in: temperature the chemistry expects, light that shows every defect, air that isn't carrying the last car's dust. This page is the room, the rules, and the two people inside it.
The room, as data
One car per room, always. Coatings level differently at the wrong temperature, film adhesive behaves differently in dusty air, and defects hide from soft light — so none of those variables are left to chance.
- BAY TEMPERATURE
- 22°C ±1
- INSPECTION LIGHT
- 5600K · CRI 95+
- AIR HANDLING
- FILTERED
- CARS PER ROOM
- 1ONLY
Three rules that don't bend
R2
No blades on paint
Every film pattern is cut digitally before it enters the room. A knife against your clear coat is a shortcut we refuse on principle.
R3
Nothing leaves unproven
Every build ends under the 5600 K bar with the log open. If a panel doesn't pass raking light, it doesn't get handed over.
The work, under the bar
Who touches your car
Two people hold keys to this building. Nobody else touches a customer car — not for washing, not for moving, not for photographs.
Elias Marr
FOUNDER · CORRECTION + COATINGS
Fourteen years on paint, the last nine appointment-only. Elias built the studio around a rule he refuses to outgrow: if the diary is full, the answer is no.
Reya Okafor
FILM SPECIALIST · PATTERNS + INSTALL
Reya cut her first patterns in motorsport, where film outranks paint. She owns every edge in this building — digital cut, wrapped finish, no blades, no exceptions.
The room does the talking on a tour — but the diary only holds four.
Start with a quote