volume production

29/08/2026

What a feeling to finally see Longing Home out in the world.

We’re incredibly happy with how this project turned out and so grateful to have been part of it alongside such an amazing team. Seeing us in the credits of something this beautiful feels pretty special.

A huge thank you to for giving us the opportunity to be part of this project.

A more detailed post about our work is coming soon — but for now, we just wanted to celebrate this one.

Congrats to everyone involved

09/07/2026

We were brought on to help produce a hype video for a professional sports team.

brought us on to work on this project.

Our responsibilities included project scheduling, early-stage compositing R&D, technical matchmove and rotomation, render management, and chain break Houdini simulations.

The final video for the Cleveland Browns was successfully delivered. A month later, the end client returned with a Director’s Cut, asking us to build a city environment for one of the key shots.

A compact project with a broad range of technical tasks across the production pipeline.

23/06/2026

40 hours. That was the deadline.
sa brought us in to help rescue a production under a tight deadline.

Our task was to create a stylized compositing workflow while the CG assets were still rendering. The visual inspiration came from the well-known music video A$AP Ferg – Green Juice, particularly its scan-based camera moves and vibrating particle effects.

Working under extreme time pressure, our team quickly assembled the pipeline, adapted to the constantly evolving CG source material, and delivered the required shots on schedule.

The final project for the Ministry of Tourism of Saudi Arabia was completed on time, and our collaboration with Mala Studio continued after delivery.

19/06/2026

We recreated part of a real island using CG to help promote an electronic music festival.

brought us on to work on this project.

Our task was to recreate a section of Randall’s Island Park in New York City and transform it into a fully CG promotional film for Experts Only Festival.

Cinema 4D + Redshift were the primary tools for the project. Knowing the scale of the environments and the rendering requirements, we organized a dedicated render farm from the start to keep production moving efficiently.

The project began with a large scale night sequence featuring a long camera flight from the Statue of Liberty, past a ship, through the city, and into the sky, where the festival logo would emerge from the city lights. After two weeks of development, the scene was completed, but the concept was ultimately replaced during the creative review process.

The new direction shifted to a daytime setting centered around a dynamic morphing logo effect.
We rebuilt the environment around a specific location overlooking the bridge and collaborated with a Houdini R&D artist to develop simulation concepts that later became the foundation for the final FX provided by Futhark.

Once the new camera, render passes, and simulations were approved, the project was rendered through the farm infrastructure we organized and delivered for final compositing.

The final commercial was promoted on all online platforms, and the client’s advertising campaign ultimately attracted 50,000 attendees to the festival!

15/06/2026

Our first multi-software CG project was completed in August 2023.

The project was developed within NEF Corporation. The agency provided the 3D character and raw city assets, while our role was to transform them into a complete CG commercial for the National State Bank.

The pipeline combined:

• Blender
• Unreal Engine
• Houdini
• Marvelous Designer
• Nuke
• DaVinci Resolve

Characters and vehicles were created in Blender, while Unreal Engine was used to build and render a city environment based on an architectural project.

To accelerate animation production, we chose a motion capture pipeline. We organized a mocap session featuring professional athletes performing skateboarding and roller-skating sequences.

The body capture worked exceptionally well. Facial animation was still a fairly experimental technology at the time, but due to production deadlines, we decided to keep it in the final version.

Key production stages included:

• Motion Capture
• Cloth Simulation in Marvelous Designer
• Hair Simulation in Houdini
• Environment Assembly in Unreal Engine
• Final Compositing in Nuke
• Color Grading in DaVinci Resolve

The project presented many technical challenges, but it gave us valuable experience in managing complex CG pipelines across multiple software packages and disciplines.

We’re excited to share our first attempt at a project of this scale and complexity.

22/05/2026

How many CG artists does it take to screw in a light bulb?

For this commercial project, quite a few.

Our task was to replace the heads of three actors with animated light bulbs featuring a burnout effect. To make the result believable, we assembled a custom team including modelers, animators, matchmove artists, Houdini artists, compositors, and supervision.

The project involved extensive R&D from the start. We tested multiple bulb shapes, rebuilt the animation setup during production, and developed a workflow for realistic glass reflections and refraction directly in render.

One of the biggest challenges was making the bulb movement feel natural despite the limitations of a rigid object replacing a human head and neck.

In the end, the commercial was delivered on time, with all shots fully composited and integrated into the final edit.

02/05/2026

Introducing our 2024 VFX showreel that contains all types of services we provide.

- compositing
- 3D tracking
- cleanup
- keying
- rotoscoping

Working with urgent projects. Quickly calculate an estimate and start working.

Got a project? - Let’s discuss it in dm

01/05/2026

From wig cleanup to remodeling a Hyundai into a taxi — here’s what we shipped in 2024. 4 projects in 1 post!

- NOT The Diamond Arm 2024
- Ivan Vasilievich Changes Everything 2024
- Nasha Russia: March 8 2024
- The Barankins and the Stones of Power 2025

We contributed to all of them, handling a wide range of VFX tasks.

On “NOT The Diamond Arm”, we worked on multiple cleanups including plaster, dress, wigs, and lighting reflections. We also created 2D graphics for screen inserts and extended a carpet in a complex top down shot.

For “Ivan Vasilievich Changes Everything”, we focused on cleanup work such as windows, seams, and tracking markers.

On “Nasha Russia”, we delivered around 15 shots under tight deadlines, including roto, keying, and compositing CG with live action footage.

For “The Barankins”, we handled a full integrations of a vehicle into a drone shot. We remodeled a Hyundai into a taxi, tracked the shot, rendered, and composited it into the final scene.

A diverse set of projects with very different challenges, all in one post to keep it short.

28/04/2026

Turning a confined tiny studio shooting into vast, fog filled landscapes was the core challenge of this TANK automotive commercial.

The car was filmed inside a stage using projection screens. Our task was to turn this controlled setup into a seamless outdoor scene.

We removed all visible wall seams to create an endless space, enhanced and replaced projected footage to improve contrast, and added large volumes of atmospheric smoke. To create a sense of movement, we built parallax between fog layers, background, and environment.

We also developed a shared library of smoke footage totaling over 300 GB, giving all artists consistent, high quality assets and production infrastructure. And set up production infrastructure using shared tracking tools and dedicated communication channels per shot.

A strong project focused on atmosphere, integration, and scale.

28/04/2026