3D &Video

Pre-Production

Concept, script, boards, cast, and locations locked before a single frame is shot. The film gets made twice: once on paper, once on camera.

• Concept & treatment

  The idea and the reasoning behind it, written so you can judge the thinking before you commit budget to the execution.

  You receive A written treatment with reference frames and a clear statement of intent.

• Script & storyboard

  Every scene planned on paper, including what the camera does, so shoot days are spent shooting rather than deciding.

  You receive A script and a full storyboard for every scene.

• Casting & locations

  Finding the people and places that suit the film, including the permissions and constraints nobody mentions until they are a problem.

  You receive Casting options and scouted locations with the practical constraints of each noted.

• Shoot schedule

  A schedule built around light, access and weather rather than convenience, with contingency for the days that inevitably go wrong.

  You receive A call sheet schedule with locations, call times and a contingency plan.

Shooting & Direction

Directed shoot days with cinema cameras, considered light, and clean sound. No shaky favors, no fixing it in post.

• Direction on set

  Deciding performance, framing and pace on the day rather than hoping to fix it in the edit.

  You receive Directed footage, plus a creative record of the decisions made.

• Cinematography

  Camera and lens choices made for the story, including planning every shot with its social crop in mind.

  You receive Cinematography to a written visual treatment.

• Lighting design

  Lighting planned to carry the brand, not just to expose the subject, with the rig specified before the day.

  You receive A lighting plan and the footage shot to it.

• Location sound

  Recording clean audio on set, because badly captured sound is the one thing post-production cannot rescue.

  You receive Production sound, plus a sync guide for the edit.

Post-Production

Edit, grade, mix, and master. The footage becomes a film here: paced, colored, and finished for every screen it will meet.

• Offline & online edit

  Assembly built from everything shot, then refined to the story structure agreed in pre-production. Online edit is the high-resolution conform where the final quality actually happens.

  You receive A locked cut with the assembly, the fine edit, and both project files.

• Color grade

  Matching shots to each other and to the brand, so the film looks like one piece rather than a week of different days.

  You receive A graded master plus the look reference so future work can match it.

• Sound mix & master

  Dialogue, music and effects balanced for where the film will be watched, then mastered to the delivery standard for each platform.

  You receive A finished mix, plus masters meeting the loudness and format specs of each destination.

• Delivery masters

  The same film prepared for every format it will be shown in, rather than one file uploaded everywhere and left to sort itself out.

  You receive Masters for each required format and platform, with a delivery sheet.

3D & CGI

Product renders and full 3D worlds for what cameras cannot reach. Packshots that never need a reshoot, scenes that never need a set.

• 3D modeling

  Building accurate geometry from dimensions or reference, detailed enough to hold up close and efficient enough to render repeatedly.

  You receive Production models with clean topology, ready to light and animate.

• Texturing & lookdev

  The surface and lighting work that decides whether something looks real. Most unconvincing 3D is a texture problem, not a modelling one.

  You receive Authored textures and a lookdev reference set establishing the visual target.

• Rendering

  Producing the final frames at the resolution and sample count the delivery needs, rather than the minimum that finishes tonight.

  You receive Rendered frames at delivery resolution, from the production scene files.

• Compositing

  Combining CG with photography so lighting, grain and colour agree, which is where most work stops looking like CG.

  You receive Final composited frames with matched lighting and colour.

Motion Design

Titles, stings, and explainers that move with intent. The connective tissue between your films, your site, and your feeds.

• Title & sting packages

  The ident and short animations used at the start and end of films and at the top of social cuts, built from your brand's motion rules.

  You receive A package of stingers with the editable project files.

• Explainer animation

  Explaining something complicated by showing it rather than describing it, with timing matched to how long people actually watch.

  You receive An animated explainer with script, storyboard and final animation.

• Kinetic typography

  Type as the primary image, timed to speech rather than to a beat grid, so it reads at speed on a phone.

  You receive Kinetic type sequences with editable source.

• UI motion & Lottie

  Interface animation specified as code so product teams can ship motion without a designer in the loop each time.

  You receive Lottie files and documented interaction specifications for engineering.

Social Cut-downs

The master film, re-cut and re-sized for every feed. Same story, native aspect ratios, captions burned in, hooks in the first second.

• Reels & Shorts cuts

  Vertical versions re-edited for the format rather than cropped from the widescreen master, with pacing that works with sound off.

  You receive Vertical cuts for each platform, captioned and formatted to spec.

• Paid ad variants

  Versions built for testing: different hooks, lengths and calls to action, so paid spend produces evidence rather than one guess.

  You receive A set of ad variants with the testing structure explained.

• Captions & supers

  On-screen text and titles placed for legibility on a phone, above the platform's own interface elements.

  You receive Finished captions and supers, positioned for each platform's safe areas.

• Thumbnails

  The single image that decides whether anything gets clicked, produced as a set so options can be tested.

  You receive Multiple thumbnail options per cut, at platform dimensions.