Two hundred microns the eye will never find.
Film is the physical answer. Where a coating resists chemistry — UV, water, contamination — polyurethane absorbs impact: stone chips, road rash, careless doors. A clear, self-healing layer thick enough to take the hit, and optically pure enough to disappear over the paint.
Every car is templated digitally, cut on the plotter — never a blade near your paint — and finished by hand: edges wrapped around the panel so no line is ever seen. Done properly, film is invisible for years; done cheaply, it announces itself in a month.
Stone chips, road rash and gravel spend themselves in the film, never reaching the paint.
Light scratches and wash marks disappear from the top coat with warmth — sun or warm water.
Optically clear, edge-wrapped and hand-finished. Protection you have to be told is there.
Original paint stays untouched underneath — the finish, and the value, kept for years.
Choose the coverage.
Every pattern is cut for your exact car and finished by hand, edges wrapped. The difference is how much of the road you decide to answer.
The films we install use aliphatic polyurethane with a UV-stable top coat — the chemistry that ended the yellowing of early generations. With a sensible wash routine the film stays optically clear for years; if a panel is ever damaged, it is replaced, not tolerated.
Yes. On factory paint in sound condition the film lifts cleanly with heat and leaves no residue — the adhesive is engineered to release. We carry out removal ourselves, panel by panel, and inspect the paint before anything new goes on.
It is our favourite combination. Ceramic over film adds the hydrophobic, easy-wash surface polyurethane lacks on its own, and deepens the gloss so wrapped and unwrapped panels read identically. Our Atelier ceramic tier is built around exactly this.
The top coat is an elastic polymer that flows back to level when warmed. Light swirls and wash marks disappear in the sun or under warm water within minutes; deeper marks may need a heat gun in the studio. The paint beneath is never involved.
What it takes to make
protection disappear.
Everything we believe about paint protection film — thickness, healing, edges, removal and the quiet discipline of a proper installation. The long version, for the people who actually read it.
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Nice · Côte d'Azur
Every stone finds the same panels.
Drive anything low, wide and fast along the coast and the road will collect its toll: stone chips on the nose, road rash behind the arches, the sandblasted haze a few thousand motorway kilometres leave on a bumper. Factory clear coat is measured in tens of microns. It was never designed to win that exchange — paint protection film was.
A respray closes the wounds but opens a different one: the car is no longer wearing its original paint, and everyone who inspects it will know. Film ends the cycle before it starts. The stone spends itself in polyurethane; the factory finish underneath never learns about it.
Two hundred microns, engineered.
Modern film is a quiet piece of materials science: an optically clear aliphatic polyurethane body around two hundred microns thick, an elastomeric top coat that flows back to level when warmed, and an adhesive engineered to hold for years yet release cleanly with heat. The generations that yellowed and peeled belong to another era.
Self-healing is not a slogan but a property. Warm the surface — sun, warm water, a heat gun in the studio — and the top coat relaxes back to optical flatness, taking wash marks and light scratches with it. The paint below is never part of the conversation.
The pattern is the craft.
The film itself is only half the work. Every installation begins with a digital map of your exact car — panel by panel, curve by curve — cut on a plotter so no blade ever approaches the paint. Then the hand-finishing: film stretched into recesses, trimmed to tolerances of millimetres, and every reachable edge wrapped around the panel.
This is where installations diverge. A visible seam, a bright edge, a lifted corner around a handle — these are not properties of film, they are signatures of haste. Our patterns are checked against the car, adjusted, and only then committed. The result has to survive our light before it meets yours.
How much car to cover.
Coverage is a judgement, not an upsell. A car that lives on the autoroute needs its full front answered; one that tours needs sills, arches and pillars; a car that must stay flawless — or simply stay original — deserves full-body film. We advise against as often as for, and we put the reasoning in writing.
The finest result pairs film with ceramic: polyurethane where the road strikes, a coating over everything for one seamless, hydrophobic depth. Fitted by appointment in our sealed Nice atelier — one car in the bay, one craftsman, photographed and documented from pattern to final edge.