& ANIMATION STUDIO
End-to-end visual effects and animation for feature, episodic, commercial and immersive work.
Some shots exist at the edge of what is physically possible, and we have spent our careers there. We deliver visual effects and animation across feature, episodic, commercial and immersive work, built on real pipelines and real colour science, to a standard that holds up on the biggest screens in the world. Technology we engineer ourselves sharpens how we get there, but the eye behind every frame is still ours.
how the work gets made
We want the shots nobody else is certain can be done. A creature that has to carry a performance is a far harder problem than a creature that only has to look right, and that difference is the part we care about most. We work across feature films, series, commercials and immersive projects, on everything from invisible effects an audience is never meant to notice through to sequences built entirely from nothing.
There is no shortcut to a shot that holds up, so the craft behind ours stays deliberate. Compositing is built in layers a supervisor can pull apart and interrogate rather than delivered as one pass nobody can argue with, animation is keyframed and judged by hand, and effects work is art-directed shot by shot instead of run as a preset. When a project needs a real place inside it we scan that place and bring it into the scene as a native part of it, and when a client brings us their own footage it runs the same pipeline our own work does.
Alongside that craft we build and train our own AI systems, and we are careful about what we point them at. They take on the preparation and cleanup that quietly consumes artist weeks, but the more important thing they do is widen what an artist can try, so more looks get explored, more variations of an environment get tested, and more versions of a moment get considered before anyone commits. Used that way the tooling amplifies creative range instead of standing in for it, and an artist still reviews every frame it returns, because the pipeline proposes and the supervisor decides. Those supervisors join a project early enough to shape it rather than inherit it, and the technology underneath them was engineered and trained by people sitting in the same room, which is a very different relationship to your tools than licensing them from somebody else.
what we believe
THE FUNDAMENTALS DO NOT CHANGE WHEN THE TOOLS DO.
WE HAVE SPENT DECADES UNDERSTANDING WHAT MAKES A SHOT WORK.
THAT JUDGMENT IS NOT SOMETHING A PIPELINE CAN REPLICATE.
THE CRAFT IS INVISIBLE. THE FEELING IS NOT.
how we work
PREVISUALISATION, SCANNING AND ASSET BUILD
ARTISAN COMPOSITING AND ANIMATION
SIMULATION, CREATURES AND FX
COLOUR SCIENCE, ACES GRADING AND DELIVERY
who this is for
Visual effects is for the shots that have to survive the biggest screen in the room.
- Directors and storytellers with a sequence they have been told cannot be done.
- Studios, VFX supervisors and post producers who need an overflow or partner facility working to theatrical standard and speaking ACES natively.
- Producers holding footage that needs more than it was shot with, from set extension and creature work to simulation, cleanup and invisible effects worked straight onto their plates.
- Brands, agencies and creatives whose work calls for real animation and effects craft rather than a template.
the outcome
What every project in this discipline delivers.
- Finished and composited shots
- Stereo and immersive masters
- ACES colour space deliverables
- Full QC documentation