# LE FLEUR EXPRESS: extended case study [Project brief](https://www.arantxabarcia.com/agents/le-fleur-1.md) These are first-party portfolio claims, not independent verification. Null or missing fields mean not published. A preview clip is not the complete film. Images and videos have not been transcribed. Reference works are influences, not projects or credits by Arantxa. Case-study extracts follow source text order and may retain presentation fragments; use the project brief for factual lookup. Editorial draft appendices are excluded. ## Project [Source section](https://www.arantxabarcia.com/work/le-fleur-1#project) ## how it was made [Source section](https://www.arantxabarcia.com/work/le-fleur-1#case-process) The process How it was made Golf le Fleur never asked for this. It is a campaign for a brand that exists, written and made in the last week of March 2025, and it is the first film made this way here — the one that came before everything else. The world was not invented, it was borrowed. The sunflower field is Flower Boy. The train, the luggage and the tailoring belong to Call Me If You Get Lost; the project folder is still named after it. Everything built on top — the carriage, the enamel signage, the plates, the typewriter — only had to sit between those two records without contradicting either. Every shot was written out in full before anything was generated. A 1970s European train photographed frontally and symmetrically in Wes Anderson's grammar. A deep focal length with the vanishing point of the corridor lined up behind the character. Thirty-five millimetre grain, golden-hour light, a pastel palette. The document names its own references — the corridors of The Darjeeling Limited, Jamie Hawkesworth's portrait symmetry, Golf le Fleur's own campaigns — and then describes the logo to the millimetre: five rounded petals, uneven in size and spacing, a small hollow circle slightly off-axis at the centre. That paragraph exists because it was the only way to get the same flower back twice. None of it happened in one place. Google's ImageFX in one browser tab for the stills, Kling in another for the movement, and in between a ComfyUI graph running on this machine — nodes wired by hand, one image at a time. Then Photoshop, After Effects and Premiere to finish. Nothing spoke to anything else, and nothing remembered anything. A world assembled in browser tabs, ten months before the tool existed. ## seven hundred and twelve [Source section](https://www.arantxabarcia.com/work/le-fleur-1#case-volume) The volume Seven hundred and twelve images Between 24 and 28 March 2025, ImageFX produced 712 images for this film. Fifty-five on the first day, then 154, then 157, then 220, then 69. A hundred and twenty-eight of them were worth pushing through the upscaler. The film is sixty seconds long. This is what that looks like from the inside: a library, scrolled, of a single shot. The train crossing the field, over and over, until the sun sat where it needed to sit and the carriage stopped changing shape between one frame and the next. There was no other way to get consistency out of a model with no memory of what it had just made. ## four times, by hand [Source section](https://www.arantxabarcia.com/work/le-fleur-1#case-upscale) The graph Four times, by hand ImageFX gave back 1408 by 768 pixels. By the standards of anything you would put on a screen that is a thumbnail, and it was all the model would produce. So the second half of the process was a ComfyUI graph, built node by node and run locally on one image at a time: load it, cut it into tiles, push each tile through the upscaling model, denoise it far enough to keep grain and not so far that it invents a new face, stitch the tiles back, save. Out the other end, 5632 by 3072 — four times up in both directions. A hundred and twenty-eight images went through it, and those are the only ones that made the film. Drag the handle. On the left is what the model handed over. On the right is what survived the second pass — sharper, and twice with the brand's own name finally spelled right. The plaque The model welded an e onto GOLF. Knocking it off took another pass The handle The model spelled the brand FLEUER. Getting the R back took another pass The terriers Fur, which is where a soft image gives itself away ## the world [Source section](https://www.arantxabarcia.com/work/le-fleur-1#case-stills) The stills The world Nine of the finished frames, at the size they were finished at. Each one is a single still that had to be right on its own before anything moved. The cab The driver, the field ahead, and the symmetry everything else was written against The crossing The train through the field, at the hour the whole film is lit for The carriage Three windows, three passengers, and the name along the side The handle The logo cast into brass, described in the prompt to the millimetre The luggage Pastel cases stacked in the corridor, a steward waiting beside them The terriers Three Airedales asleep across the seats, with the bags of whoever they belong to The typewriter A green Golf le Fleur typewriter, framed by two windows of field The dining car The table from above, in the palette everything else was matched to The arrival Walking out into the field the whole film has been passing ## references [Source section](https://www.arantxabarcia.com/work/le-fleur-1#case-references) The research What we looked at Two records and a train. Flower Boy gave the field. Call Me If You Get Lost gave the journey, the luggage and the tailoring. Between them sat one photograph of a 1970s carriage from Accidentally Wes Anderson that fixed the interior — the seat fabric, the ceiling, the repeating windows — before a single prompt was written. Everything else came from the brand's own material: three seasons of Golf le Fleur campaign photography, the varsity jackets and the scalloped collars, and the five-petal flower drawn at the proportions it is actually drawn at. The wardrobe in the film is close to it and is not it, which is the one thing this era could not do. References Reference 01 The field: Flower Boy Reference 02 The carriage, from Accidentally Wes Anderson Reference 03 A season of Golf le Fleur, as a contact sheet Reference 04 The collar, the pleats, the socks Reference 05 Chain stitch, and how the brand writes its own name Reference 06 How the brand stages its own objects Reference 07 The tailoring: Call Me If You Get Lost Reference 08 Five petals, uneven, hollow off-centre Reference images gathered for the moodboard. Artwork and campaign photography for Golf le Fleur and Tyler, The Creator, reproduced here as references only. ## march 2025 [Source section](https://www.arantxabarcia.com/work/le-fleur-1#case-tools) Then and now March 2025 It is worth being exact about what did not exist yet. There was no MITO platform; that arrived ten months later. Seedance had not shipped. Nano Banana had not shipped. There was no model you could hand a photograph of a jacket to and get the same jacket back on a different body, in different light. Consistency was manual: describe the garment in words, generate until it matched, upscale the ones that did in a graph you had wired yourself, and write the whole thing again for the next shot. That is why the wardrobe on this train is not Golf le Fleur's actual wardrobe. It is built around the brand rather than taken from it, because a real garment could not yet be asked for by reference and returned intact. Maritime, six months later, is the same exercise run again once it could. The limit left its own discipline behind. A film cut from images that each had to be right on their own, with nothing to generate around a problem, gets written more carefully than one made where a fix is cheap. Seven hundred and twelve tries at one minute, back when that was the only way.