The questions we'd ask before trusting anyone with our stone.

An optically clear, flexible protective film with a self-healing surface, measured at roughly 190 µm thick. It bonds to the surface of your benchtop with an adhesive engineered to release cleanly, so spills, acids and scratches land on the film instead of the stone. The stone stays perfect. The film takes the hits. That's the entire job description.

Structurally, yes: stone is immensely strong, and your benchtop will outlive the house. But what you look at every day isn't the structure, it's the finish, and the finish plays by different rules. Marble, limestone and travertine are calcium carbonate, which reacts with everyday acids on contact: lemon juice, vinegar, soft drink. That's chemistry, not weakness, and strength doesn't come into it. The surface is also porous enough to drink in red wine, oil and coffee, soft enough to collect fine scratches, and on honed finishes heat can leave pale clouds. None of this threatens the stone itself. It quietly ruins the surface you paid to look at, and the way back is a repolish, not a wipe. The film protects the finish. The structure never needed help.

The idea is the one paint protection film (PPF) made famous: a clear, self-healing sacrificial layer that takes the damage so the surface underneath stays perfect. We're comfortable with that comparison, because it means the technology is proven rather than an experiment. But the job is different, so the spec is different. The surface protection film that goes on stone is chosen for stone: optically clear in gloss or satin so it disappears on a polished or honed finish, rated to a tested 120 °C for kitchen heat, bonded with an adhesive that releases from stone without residue, and measured and cut by hand around your sinks, taps and edges on the day. Paint film is judged by how it handles gravel and road grime. This is judged by how it handles lemon juice, red wine and a decade of dinner parties. Same family of technology, specified for the job it actually does.

Surface protection film is one of the newest ways to protect natural stone in Australia, and only a handful of specialists install it. Most owners find it one of two ways: before the first etch mark, or just after. We'd rather you found it before, which is why this site explains everything up front.

Roughly 190 µm, which is 7.5 mil, or about the thickness of two sheets of paper. Thick enough to absorb real damage, thin enough that you stop noticing it within a week. We publish the measured number because "ultra-thin yet incredibly strong" is a slogan, not a spec.

Each panel is hand-trimmed precisely to the surface. Run your palm across the benchtop and it feels like stone, because what you're touching sits flush with it. Run a fingernail deliberately along the perimeter and you may find the boundary. Expect to end up showing your guests, mainly because they won't be able to find it.

We cover the full working surface. Square and pencil-round edges can usually be wrapped so the protection carries over the lip. Complex profiles, heavy bullnose and some mitred details are assessed at the quote, and we tell you exactly what will and won't be covered before you commit. Splashbacks and waterfall sides can be filmed as part of the same job.

On polished stone, the gloss film preserves the mirror. On honed or matte stone, the satin film keeps the soft, low-sheen look. The film is optically clear, so veining, colour and depth read exactly as they did before. And if we thought filming would change the character of your particular stone, we'd tell you at the quote and let you decide with that on the table.

Simple rule: polished stone takes gloss, honed or leathered stone takes satin. The goal is invisibility, not improvement. If your surface sits somewhere between, we bring samples, lay them on your actual stone in your actual light, and you choose. It takes five minutes and removes all the guesswork.

Cheaper films are known to yellow. Ours is the non-yellowing class of film, and we back that in writing: yellowing is one of the five failure modes covered by the 12-month film warranty. If it yellows, that's our problem to fix, not yours to live with.

The satin finish softens fingerprints and smudges, and in daily life it shows less than bare polished stone does. Gloss behaves like any polished surface: it records marks between wipes, and a damp microfibre cloth clears them in seconds. Neither finish holds smudges more than your stone did before we arrived.

Honed and matte stone is exactly why we run a satin film. It reads soft and low-sheen, with no added shine and no plastic gleam. Heavily leathered and textured finishes are the honest exception: deep texture can affect how the film sits, so we assess those in person, and we'll tell you plainly if your surface isn't a good candidate. We'd rather lose the job than film the wrong stone.

The film adds a silky smooth layer over the surface, so if your stone has a textured or rough finish, it will feel smoothed out under the film. Polished stone keeps feeling much as it did. If the texture is part of what you love about your surface, tell us at the quote and we'll talk it through before you commit.

On unprotected marble, that's a stain in the pores and an etch mark in the polish by breakfast. On the film, it's a puddle sitting on a non-porous layer. Wipe it up, clean with mild detergent, done. We still recommend wiping spills when you see them, because contaminants left sitting for days can mark the film itself. But the stone underneath is out of the equation, and that was the point.

Acids are the classic marble-killer. They dissolve the polish of marble and limestone on contact, and no cleaning product brings it back. Acids don't react with the film the way they react with stone, so lemon, vinegar, wine and soft drink wipe away without leaving the dull ghost-marks stone owners know too well. It's the classic reason people look at film in the first place.

The film is not designed for direct cutting, and we won't pretend otherwise. Keep using your chopping board. The difference is what happens when life ignores that advice: the film's top layer repairs itself from fine scratches with warmth, from sunlight or warm water, and a genuinely damaged panel can be replaced. A scratch in bare polished stone is a repolishing job done by a tradesperson with a grinder.

The film handles daily kitchen life: kettles, warm plates, splashes from the stove. We rate it conservatively to 120 °C continuous, and we'll say the rest out loud: don't slide a pan straight off the flame onto your island. Hot pans still get a trivet, and we tell you that up front rather than hiding it in the warranty exclusions. The 120 °C figure itself isn't marketing: it's tested for extended exposure and printed on the film's technical data sheet.

Direct cutting. Sustained heat above the 120 °C rating. Harsh solvents and abrasive scourers. Spills and contaminants left sitting for days, which can mark the film. And outdoor UV loads it isn't rated for, which is why we install on indoor surfaces only. Notice what every item on that list has in common: it damages the film, not the stone. Film can be replaced by the panel. Stone can't.

Our 120 °C rating is tested for extended exposure, hours rather than moments, and printed on the film's technical data sheet, which we'll show you at the quote. Higher figures advertised elsewhere may not always be tested, or may only reflect a short exposure of a couple of minutes. We'd rather publish the number we can stand behind. Daily kitchen life sits comfortably under 120 °C, and no film, whatever its rating, should meet a pan straight off the flame. If you're comparing quotes, ask to see the test. We can show you ours.

Ten years or more, provided the aftercare is followed: the small routine on our care page is what keeps the film performing for the long haul. The film doesn't expire on a schedule, and worn panels can be replaced individually. The 12-month warranty is a separate matter: it covers film failures like yellowing or lifting, not the film's lifespan.

The same way you'd wipe down any kitchen surface. Warm water, a drop of mild dish detergent, a soft or microfibre cloth. Standard spray-and-wipe cleaners are fine. There's no special product to buy from us, and no "care system" dressed up as a subscription.

Avoid acetone, thinners and other strong solvents. Avoid abrasive creams and scouring pads. Avoid caustic oven-style cleaners. None of these belong on a stone benchtop anyway, filmed or not. If in doubt, mild detergent does the job, and you can always message us a photo of the bottle. You'll get a straight yes or no.

No. Sealers need re-application every year or two to keep doing their job. The film doesn't need topping up, curing or re-treating. Clean it like a normal benchtop and get on with your life. If a panel ever cops serious damage, we replace that panel. That's a repair, not a maintenance schedule.

The film is non-porous and unbothered by water, so sinks, drainers and wet zones are fine. At install we trim the film precisely around sink cut-outs and tap penetrations so there are no loose edges for water to work at. Pooled water wipes away. It doesn't soak in, because nothing soaks in.

The film is an inert, stable material. What we won't do yet is make a food-contact claim, because we haven't completed independent food-contact migration testing, and we don't make claims we can't hand you the paperwork for. That testing is planned. In the meantime our advice is what it would be on any benchtop, filmed or bare: prep food on a board.

A typical kitchen is installed in one day. Surfaces are cleaned and prepped in the morning, the film is measured, cut by hand and laid through the day, and your benchtop is back in service that evening. Larger jobs, butler's pantries and multiple rooms can run longer, and your quote states the timeframe before we start, not after.

No. The install is quiet and low-odour, with no grinding and no dust. We need clear benchtops and a little space to work, and you can work from home right through it. The only thing we'll ask is that the surface stays clear while film is going down.

The perfect moment is the week your new benchtop goes in, before the first lemon finds it. Film works just as well on stone that's been lived on for years, and that's fine: we clean and prep the surface, and the film protects it from that day forward. If you're mid-renovation, nothing about the film changes how your stonemason installs the stone. We simply come in after them.

The film is optically clear, so existing etch marks, stains and scratches will still be visible underneath it. It stops the damage getting worse. It doesn't wind it back. If the damage bothers you, have the stone repolished first, then film it while it's perfect. At the quote we'll tell you honestly what will show and what won't, before you've spent anything.

We're Perth owned and operated, and the metro area is where we work day to day. Beyond that, down south, the hills, regional WA, it depends on the job. Send the details and you'll get a straight answer: a fixed quote if we can do it well, or a straight no if we can't.

Five failure modes, in writing. Yellowing. Cracking. Blistering. Delamination. Adhesion failure. If the film itself fails in any of those ways within that year, we put it right. You see the full warranty document, exclusions included, before you pay anything. That order matters to us.

Wear, misuse and cutting damage are excluded, and we'd rather explain that than bury it in clause nine. The film is a sacrificial layer. Taking the scratches, spills and daily punishment your stone would otherwise keep is the product doing its job, not the product failing. A warranty that pretended to cover wear would just be priced into your quote and defended through fine print. Ours covers the film failing, not the film working.

Yes. The adhesive is engineered for residue-free removal, so the film comes off without a trace and the stone underneath is exactly as it was the day we covered it, and it's simple enough to remove yourself. Panels can also be replaced individually, so one hard-working section next to the cooktop doesn't mean redoing the whole surface. Protection you can't undo isn't protection. It's a commitment.

Send photos of your surfaces or your benchtop measurements, and we come back with a fixed quote: the scope, the finish, the timeframe and the exact price. No sales visit required, no "from" pricing that grows on the day, no obligation. And if we don't think your surface needs film, which is often true of engineered quartz and almost always true of porcelain, the quote will say exactly that.