Heat & glare
The room off the west wall becomes unusable from three o'clock on and your AC runs to cover it. Film rejects the infrared before it gets inside, so the room evens out and the system stops fighting.
Up to 78% total solar energy rejected
Residential film · The Valley & the foothills
Your view
stays.The heat
doesn't.
Window film for homes across the San Fernando Valley, the Pasadena foothills and Santa Clarita. Up to 82% of the sun's energy stopped at the glass, 99% of the UV that's bleaching your floors — and a film matched to whether you want it noticed from the curb or not.
Veteran-owned · Six years in film · World Championship competitor
Filmed
Bare glass
↔
- Glass surface
- —
- UV reaching floor
- —
- Glare
- —
- Your view
- —
Who's doing the work
The person you talk to is on your glass
Six years, one trade
I'm Dante Peterson. I've been hanging film for six years — cars first, then houses, then hotels and clinics. Veteran-owned, working the Valley, the Pasadena foothills and Santa Clarita.
That poster is Tinter Battles naming me a featured competitor for the World Championships in Los Angeles this August. It will not make your living room one degree cooler. What it means is that the person cutting your film has been judged pane by pane against the best in the country, and brings that same standard to a Tuesday in your kitchen.
I walk your house, I cut your film, and I'm the one back at thirty days looking at it with you. A big house gets a crew — but I'm on the glass with them, and I'm the number you call.
Station 1B, Atlanta
National championship. That's not a car door — it's a pane of flat glass, a clock, and judges who go over your edges with a loupe looking for gaps you can't see from arm's length.
Nobody's timing me at your house. The reason it's worth calling a competition tinter is that the standard doesn't move when the clock comes off.
The whole sun side of the Sheraton Universal
Every pane on the elevation that takes sun all day. Old film off, new film on, floor by floor.
Removal is the part nobody photographs. Cured film comes off a building slowly, by hand, without marking the glass underneath it — and if you get it wrong on a hotel at Universal City, everyone staying there watches you get it wrong.
Your great room is not the hard part.
160+
Five-star reviews on the automotive side of the shop. Same hands, same standard, now on your house.
Veteran
Owned and operated. One point of contact from the walkthrough to the last squeegee pass.
Worlds
National championship competitor on flat glass, and a featured competitor at the Tinter Battles World Championships in Los Angeles this August. Same glass as your house, judged with a loupe.
The four problems glass has
You didn't buy the windows for the heat
Big glass is the best thing about a Southern California house and the most expensive thing to live with. Film fixes the four things it does wrong without touching the one thing it does right.
Fade protection
Hardwood, rugs, art, leather, cabinetry. The sun takes them slowly enough that you don't notice until you move a chair. Film blocks essentially all the UV doing it.
99% UV rejection
Privacy
Street-facing rooms, neighbors twelve feet away, ground-floor bedrooms. Daytime privacy from outside, full view from inside. Frosted and gradient options where you want it around the clock.
Daytime one-way · frost on request
Recent installs · Johnson & ASWF
Real glass, real numbers
Every job below is metered on site. The figures on each photo are what that film actually pulled on that house — not a brochure number.
High desert · Interior
The window that isn't a rectangle
A raked top sash — a triangle in a wood frame, with no second chance. Cut on site, wet, on a ladder, to a shape that exists in exactly one house.
Cut on site
La Cañada Flintridge · Interior
Herringbone hardwood, west light
That sun patch on the floor is the whole argument. Film doesn't move the light — it strips out what's bleaching the wood underneath it.
58% solar rejected
99% UV
Southern California · Interior
The one that shows you the difference
Same wall, same second. Left pane bare, right pane filmed. This is the highest-rejection film we run, and the view out of it is still completely open.
82% solar rejected
15% Silver Reflective
Southern California · Interior
The glass you can't reach
Two-story great room. The high windows are the ones cooking the room and the ones nobody else wants to bid. We bring the scaffold.
72% solar rejected
86% infrared
Lifetime warranty
Los Angeles · Interior + exterior
Balcony slider, both sides
Inside, the balcony and the palms are right there. Outside, the glass is closed. Same pane, same afternoon. And because it's dual reflective, the door doesn't turn into a mirror of the room once the lights come on.
80% solar rejected
99% UV
ASWF Daydream 5
Southern California · Interior + exterior
Pool doors, view kept
The lighter end of the range. From the kitchen the pool looks like it always did. From the deck, the doors read as glass, not as a room.
56% solar rejected
99% UV
Johnson ScenicView 35
Southern California · Exterior
Whole house, pool elevation
Every opening on this face is filmed — sliders, fixed glass, the door. Doing one window is a patch. Doing the elevation is what changes the room.
77% solar rejected
99% UV
10–15% energy cost
High desert · Exterior
Custom arched glass
Curved wood frames, arched top sash, no two panes the same. Every piece cut on site. This is the work that separates a tinter from a guy with a squeegee.
50% solar rejected
99% UV
High desert · Exterior
Full daytime privacy
Open lot, no neighbors to hide behind, glass on every face. From outside in daylight the rooms are closed. From inside, nothing changed.
50% solar rejected
Daytime privacy
Commercial · Storefront
Retail entry doors
Not a house — but the same film and the same problem. If you run a building instead of a home, we do those too.
67% solar rejected
99% UV
Johnson ScenicView 25
Swipe for more
Where we work
Same sun. Seven different houses.
The Valley and the foothills don't get the marine layer the coast gets. Out here the sun just arrives and stays. What changes town to town isn't the heat — it's the glass someone put in front of it.
Northridge
Valley heat with nothing in the way of it. Ranch homes with wall-length aluminum sliders that were cheap in 1972 and are a furnace now. The room off the patio is the one nobody sits in after three.
Granada Hills
Same sun, bigger houses, more of them on a grade. Two-story glass up near the foothills takes the afternoon straight on with no shade coming to save it.
La Cañada Flintridge
Foothill customs with hardwood, rugs and art worth more than the windows they're sitting under. Here the fade conversation usually comes before the heat one.
Pasadena
Craftsman and Spanish revival with the original single-pane wood still in it. You're not replacing those windows, and in the landmark districts you couldn't anyway. Film goes on the inside, changes nothing from the street, and comes back off if you ever want it gone.
Santa Clarita Valley
Valencia is master-planned tracts with two-story glass and no mature trees yet — great rooms that stack heat at the ceiling and never let it go. Canyon Country sits further east with older stock, more ranch homes, and hills that throw the heat back at you until dark.
Calabasas
Hillside glass bought for the view, which means the film isn't allowed to touch the view. Low reflectivity only — nothing that reads as tint from the driveway.
Los Angeles
Mid-century single pane in the hills, new construction on the flats. The common thread is glass specified for a view and never once for August.
The film · Johnson & ASWF
The film matches the house
We run two American manufacturers — Johnson Window Films, family-owned in Carson since 1973, and ASWF out of Las Vegas. Almost everything that goes on a house here is dual reflective: it carries its reflectivity on the outside where it's doing the work, and stays quiet on the inside. That's the difference between a window you can still see out of after dark and a mirror of your own living room.
| Film | Visible light | Solar energy rejected | UV rejected | Reflectivity | What it's for |
|---|---|---|---|---|---|
| Johnson ScenicView 35 | 35% | 56% | 99% | Dual reflective | Lightest film that still does real work. When the view is the reason you bought the house. |
| Johnson ScenicView 25 | 25% | 67% | 99% | Dual reflective | The middle of the range. Most homes land here. |
| ASWF Daydream 5 | 5% | 80% | 99% | Dual reflective | Privacy and heat in one film. Street-facing and ground-floor glass. |
| Silver Reflective 15 | 15% | 82% | 99% | Mirrored | Maximum rejection. West walls where the number beats the look. |
Both lines are sputtered metal, not dye. Dye is what goes purple and bubbles after three desert summers — it isn't in our van. Johnson's ScenicView carries a scratch-resistant hardcoat and is guaranteed not to fade or change color, and every film we hang is backed by a lifetime manufacturer warranty.
How it goes
Three visits, and one of them is short
The drop cloth goes down first
Film is a wet trade. Slip solution runs off the glass and onto whatever's underneath it, which is why the cloth is down before the film is up and the floor is dry before we leave.
We cut on site, we mask what needs masking, and we haul our own trash. You shouldn't be able to tell we were there except through the window.
Walkthrough
We go window to window with a meter. Orientation, glass type, what's actually bothering you. You get a number that doesn't move later.
Install
Most homes are a single day. We mask, we cut on site, we clean up. Nothing gets left in your driveway.
Cure & check
Film hazes slightly while moisture leaves, then clears. We come back and look at it with you. Lifetime manufacturer warranty on the film.
Commercial
We also do buildings
A hotel elevation at Universal City. A medical clinic. Retail entries. Same film, same meter, taller ladder.
Film by the case
Commercial glass is the same physics and a completely different job. Access, after-hours windows, occupancy, and a building full of people who need the doors to keep working while you're standing on them.
If you manage a property instead of live in one, it starts the same way it does for a homeowner: tell us which glass is causing the problem and we'll come meter it.
Free · No pressure
Let's go look at the window that's bothering you
Tell us the room and the time of day it gets bad. We'll come out, measure it, and tell you what film fixes it — including if the answer is that film won't.