VFX services for brands and agencies.

Visual effects are techniques applied to filmed footage: compositing, background replacement, 3D objects placed into a real scene, object removal, sky replacement. Motion graphics are animation-based: text, icons, and graphic elements that move independently of live action. Many shoots use both. If you're not sure which you need, we'll look at your footage and recommend the right mix.

Yes. Post-production services on existing footage are one of our most common requests. Marketing teams bring us footage from their own shoots or past productions, and we elevate the finish. Send us what you have and we'll tell you exactly what is possible.

No. We work on footage from any source: your own shoots, third-party crews, or archive material. The only requirement is high-resolution, properly formatted footage. Many teams use us exclusively as their effects and motion partner, without ever shooting with our crew.

Broadcast-ready files in every format you need: broadcast, social, web, and out-of-home. For motion graphics, that typically means the primary video plus social edits at 1:1, 9:16, and 4:5. For reusable motion systems, we also deliver the template files (After Effects, Premiere, or web formats) so your team can handle content creation on its own without returning to us for every new piece.

Consistency, speed, and format coverage. A studio holds quality standards across every deliverable (color, typography, timing, and overall look) without making you manage the workflow. We handle feedback rounds, revision tracking, and multi-format delivery in one engagement. A freelancer can be excellent for single assets. We're built for work that needs multiple pieces with a consistent look.

Our team uses a mix of AI-assisted techniques and traditional handcrafted work depending on the job. For some tasks, such as background generation, upscaling, and rotoscoping, AI significantly reduces timeline and cost. For others, handcrafted compositing delivers accuracy AI tools can't. We recommend the right approach for each job and are transparent about where AI is used.

We start with your product specs, brand guidelines, and any reference imagery. Our team builds a 3D model or renders from your existing CAD or 3D files, then composites it into live footage or delivers it as a standalone animated sequence. Final delivery includes the primary cut plus any social or platform-specific formats you need. Timelines run 3-5 weeks depending on complexity and revision rounds.

Yes. We build the full motion language for your channel or campaign: lower thirds, title cards, transitions, end cards, and social templates. Everything is built as a modular system in After Effects or Premiere, enabling your internal team to make new pieces from the templates without going back to a shoot.

H.264, ProRes 422/4444, DNxHD, HEVC, and web-optimized MP4. For social platforms, 1:1, 9:16, 4:5, and 16:9 exports by default. A wide array of industry-standard broadcast and out-of-home specs are supported; send yours at kickoff and we format to them from the start.

Motion graphics and simple effects work: 1-2 weeks. Complex compositing or 3D animation: 3-5 weeks depending on complexity. Reusable motion systems: 4-6 weeks. We give you a specific schedule in the written quote, no open-ended estimates. Rush turnarounds are available on select work.

Our team's day-to-day background is broadcast design and advertising, rather than a movie or episodic pipeline. That means our workflows are calibrated to campaign budgets, deadlines, and the need to turn out consistent videos at scale. We know how to deliver visuals that serve a marketing message, not a director's vision. That's a different skill set, and it matters.

Start with a conversation. We work at your pace: a quick call to assess scope, a full written estimate with line-item pricing, spec concepts, or a creative direction session before anything is committed. We follow your cadence, not ours.

Yes, within our 2D and 3D animation work. Character animation for mascots and explainers is scoped case by case, and we tell you up front whether the schedule and budget fit the idea. Bring a sketch, a script, or just the ideas and the story you want to tell.

Movies and TV productions are built around large pipelines, long schedules, and rooms full of artists. Campaign work runs on a different clock: a launch date, a deadline-driven approval chain, and a handful of hero shots that have to look flawless on every screen your audience actually uses in the real world. We build for that second reality, with a small team of artists, one contact, and TV-ready broadcast files in place of a department.

Yes. Event openers, speaker IDs, lower thirds, sponsor loops, and recap videos are all common requests. For a live event, we plan to your schedule and screen specs and deliver files ready for the venue team, plus a social cut for after the event. Event dates do not move, so tell us yours on the first call.

Our work is built around finished video: commercials, social, broadcast, and web. If your project lives inside a game engine such as Unreal, tell us on the first call and we will say honestly whether we are the right fit, and point you to who is if we are not.

Rotoscoping means tracing live-action footage frame by frame to create masks that isolate a subject, so a new background can sit behind it. Matchmoving analyzes the camera's motion in a shot so digital elements, such as a 3D product render, sit in the scene and move with the camera properly. Simulation effects generate realistic versions of natural phenomena like smoke, fire, and water. You do not need to know these terms to brief us: describe the shot you want, and we will tell you which techniques it needs.

Motion capture, or mocap, records an actor's movements and uses them to animate a digital character, and performance capture adds facial expression and fine detail to bring digital characters to life. Both rely on a dedicated setup, so they add scope and schedule. If your job calls for either, tell us on the first call and we will say honestly whether we are the right fit. If it does not, many mascots and explainers are built without it.

Virtual production blends physical and digital filmmaking by rendering environments in real time, often on large LED screens, while the camera rolls, so the result is recorded in the shot. Post-production work is added after the shoot, in compositing, which gives more control and lets us work on footage from any source. Our work happens in post, which is why it applies to footage you have already shot.

The Trusted Partner Network (TPN) is a content-security program managed by the Motion Picture Association, and studios often require it from vendors who handle pre-release content. If your job has security requirements like that, tell us before the quote so we can say plainly whether we meet them.

VFX covers a wide spectrum. Basic examples include impacts, blood hits, explosions, and cleanup like object removal. Mid-range work includes compositing and green screen. At the high end are full 3D environments, simulations, and digitally built characters. Most jobs combine a few of these, and the written quote lists exactly which.

Motion graphics simplify complex ideas into clear narratives by showing one step at a time: a technical process, a data point, or a product feature gets animated in the order an audience needs to follow it. That is why technical explainers are a regular request, and why the written quote spells out what each sequence needs to say before anything is built.

Often, but be careful with exact numbers. One figure repeated widely online, from the UK marketing resource Connect Media Group, says motion graphics with sound boost engagement by 65%. We have not found a primary study behind it, so we treat it as a claim, not a benchmark. We would rather test it on your own channels: the same message, with and without motion, measured side by side.