A distinctive and already iconic spot directed by Gary Freedman, created for the release of the highly anticipated FC 26 from EA Games.

Shot predominantly on location with carefully composed static camera setups, the film embraces a unique retro, portrait-style aesthetic. Strong performances and practical effects form the foundation of the piece, supported and enhanced by seamless invisible VFX work that preserves the authenticity of the imagery while elevating the overall spectacle.

For the extended version, our work included the creation of fully CG stadiums and crowds, designed to match the stylised visual language while conveying epic scale. We also developed a hyper-muscular CG version of legendary goalkeeper Oliver Kahn, pushing realism into exaggerated, comedic territory in line with the film’s tone.

Additional CG elements included a fully animated polar bear and a monster truck, alongside numerous subtle and invisible VFX enhancements integrated throughout the film. These contributions helped blend practical and digital techniques into a cohesive, playful, and visually rich final result.

A fun, pastiche-inspired spot created for Emirates’ onboard entertainment system, designed as a fast-paced cinematic adventure.
This 3-minute, action-packed VFX sequence was directed by Murray Butler for Framestore Pictures.

Our work involved the full CG creation of multiple hero assets, including a fully digital aircraft, a pirate monkey and his ship, a great white shark, pterodactyls, penguins, and a cast of aliens. We also delivered extensive set extensions and digital matte paintings to enhance environments and seamlessly expand the scope of the film.

In addition, we designed and produced a bespoke retro-inspired 8-bit sequence, as well as a unique 3D chess statue scene, combining stylised design with high end facial scanning methods. The project brought together a wide range of creative and technical disciplines to create a visually rich, playful, and engaging onboard experience.

What an epic project with Jake Scott for RSA Films.
Shot across multiple locations: Vancouver, Los Angeles, and Slovenia, this high-scale production was a true feat of coordination, with meticulous choreography crafted to support a complex and ambitious VFX puzzle.

Scope of Work:

CG tigers.

full CG environments and set extentions.

CG crowds and 2D sprites setups.

Extensive bluescreen compositing.

Over 140 VFX shots in total.

This super-production music video served as both a tribute to an all-time film classic and a bold launch piece for the NFL season, while simultaneously celebrating the upcoming release of Gladiator 2.

Another very interesting collaboration with Sky Creative, directed by Nick Esdaile.

I learned so much about Formula 1 during this project: from apex curves to tire compounds affected by weather conditions. I now understand a bit more about what it means to be a true F1 fan.

We brought to life an impossible race, crafted through a patchwork of diverse VFX techniques:

Full CG cars, keyframe animated across all racing shots.

Animated sequences built from still images.

Entirely CG race sequences.

CG cars seamlessly integrated into custom drone footage.

A technically ambitious and creatively rewarding project that blended realism with imagination in true motorsport style.

Another fun one with Daniel Kleinman for Sky Sports.

We collaborated closely to build a meticulous 3D previs of each key sequence, which played a crucial role in choreographing the action during filming. This project was a truly exciting visual challenge: recreating the look and feel of a retro circus atmosphere.

We designed and created all the key set pieces in CG, including the stands, circus tents, and the wooden wall of death for the car chase. It became a real VFX playground, involving extensive compositing to layer multiple live-action plates, alongside major full-CG elements like vehicles and environments.

A dynamic and playful masterpiece that brought creative storytelling and technical execution together in the best way!

Jeff is back!

What a fun project and a great opportunity to collaborate once again with director Tomas Jonsgården. This time, the focus was all in a unique location.

The main challenge was ensuring that all the subtle layers of the music were reflected through the craft and nuance of Jeff’s animation, so the audience could see the rhythm as much as hear it.

Feel the music with him… and have a laugh along the way!

Bringing back Will Ferrell's iconic character, “Buddy the Elf,” into a contemporary Asda superstore was an enjoyable experience.

In close collaboration with Daniel Kleinman, we meticulously scrutinized each shot of the original movie.

We 3D-tracked all the original cameras and used that data to align new cameras in a 3D previs, utilizing a lidar scan of the new Asda store. This allowed us to determine the exact lens and position needed when shooting the body double, enabling us to replicate each shot precisely in the new environment.

Clever editing, extensive rotoscoping, and countless color adjustments were essential to making this work. We even used AI to restore some of the original footage's quality.

Additionally, the ceiling and large parts of the set were reconstructed in post-production.

“A lizard on a robot vacuum”—what a fun starting point!

Working closely with director Tomas Jonsgården we were tasked with bringing to life Jeff, a plucky pet bearded dragon who goes on an adventure while his owners are out of town.

He have used a procedural system in Houdini to build scales and spikes in order be very flexible at modeling stage.

The main challenge in animation was to create a character that was both anatomically correct, but also have the ability to be comical in its performance,

No animals were harmed in the making of this—just computers!

Working closely with Bert & Bertie, we designed and built Iggy, a lovable, fluffy character for the latest McDonald’s Christmas campaign. Our goal was to create a creature that felt realistic and tangible, yet still allowed for expressive animation to bring out the best emotions.

As one social media user put it, "I can't believe I'm actually crying over the McDonald’s Christmas ad. Who gave them permission to make the best ones?"

Check out the animation making-of below.

It was an honor to be part of such an iconic piece for its 25th anniversary. Collaborating with Daniel Kleinman on that epic journey was an absolute blast.

An interesting technical fact: the final title sequence features a total of 5,373 frames, incorporating nearly 50 separate CG and 2D assets. It took over two and a half million hours of CPU rendering time to complete.

For this project, the challenge was to create a continuous camera move that seamlessly transitions between five different locations inside a car. To achieve this, we built a meticulous previsualization to explore various camera moves, which guided us in setting up the motion control rig mounted on the car's ceiling.

The shoot took place on one of the largest LED screen virtual production stages in the world: The XR Stage in Los Angeles.

Check out the making-of below.

As a lifelong Lego fan, working on the 2020 Christmas campaign felt like a childhood dream come true. It was an absolute joy to collaborate with The Bobbsey Twins and Lego on such a surreal and imaginative project.

Among the many tasks, we designed and built a T-rex, a Hulkbuster, a dragon, a dragster, an ice cream truck, and even an AT-AT. Be sure to check out some of the short passion films we created as well, linked below.

A couple of pretty funky spots for IKEA.

We had to create full digi-doubles and some pretty fun Houdini Vellum simulations.

A full cg journey in the heart of a tropical forest.

From the generation of hundreds of vegetation assets to a custom feather system, check out the making of bellow.

A man chased by bears!

A bear on a lilo…..

We have created full CG bears!

A woman is thrown out of her flat for an epic skydive, all captured in one continuous take.

The first part of the film, set inside the flat, was created using a complex rig that allowed us to tilt the entire room, giving the impression that gravity was shifting.

The sky sequence was then entirely generated in CG.