What we make.

The launch window is the only time a product commands full attention. In the weeks before availability — before any review exists, before a single unit has shipped — the render is the product. We build animations that fill that window with something credible.

Hero shots are the foundation. A hero shot is not a render against a white background. It is a choreographed camera move through space that reveals geometry in an order chosen to produce specific responses — desire, curiosity, confidence — at specific moments. We compose these sequences the way a director blocks a scene: motivated lighting, a considered lens choice, a tempo that respects the product's weight.

Exploded views resolve complexity. When a product's value is in its engineering — a hinge mechanism, a seal geometry, a layered material system — an exploded view creates legibility that no photograph or written specification can match. We author these as animations, with controlled explosion timing that lets the viewer follow the assembly logic rather than just observe it.

Feature reveals are structured arguments. Each reveal is a short film within the longer piece. It has a problem — a viewer who doesn't understand something — and a solution: understanding. We write these as briefs before we model anything. What the viewer knows before the shot, what they know after it, how long the shot takes to complete the transaction. The animation follows from the brief.

We work from CAD wherever possible. SolidWorks, STEP, OBJ, Rhino — we import the file your engineers produced and rebuild it in Houdini or Blender at production quality. Deliverables are planned for every output format at the start of the project: product page, trade show loop, email module, paid social. Every version is authored, not cropped.

Some products live inside other products. They operate in environments no camera can access: inside a pressurised hydraulic circuit, inside a sealed gearbox, inside the barrel of a precision rifle. Animation is the only medium that can place a camera there, and we have built a practice around doing it correctly.

Cutaway sequences are our most requested format for industrial clients. A cutaway removes material from a component or assembly to reveal its interior while the mechanism operates. We author these as controlled reveals — the section plane moves deliberately, exposing only what the viewer needs to understand at each stage of the sequence. The visual language of the cutaway tells the story of the engineering.

Assembly walkthroughs serve two audiences: the sales team explaining the product to a prospect, and the maintenance team taking the product apart for the first time. We author for both. A sales walkthrough runs forward — from nothing to complete — at a pace that communicates confidence. A maintenance walkthrough matches the procedure, component by component, in the order a technician works.

Simulation is part of our process for mechanisms with meaningful physics. Fluid dynamics inside a valve body, flexible seals under compression, thermal expansion in a heat exchanger — we simulate these in Houdini because a keyframed approximation is not credible to an engineering audience, and your engineering audience will spot it immediately.

We import directly from SolidWorks, Catia, Fusion 360, STEP, and IGES. Our pipeline includes automated cleanup that strips cosmetic features and rebuilds problem topology without losing dimensional accuracy. Deliverables are produced for every channel in parallel: 4K master, 1080p for online, compressed loops for trade show screens, still frames for print.

Medical animation operates at the intersection of biological accuracy and visual communication. The audience — clinicians, regulators, patients, investors — changes with each project, but the requirement for accuracy is constant. We work to a standard that would withstand technical review by the scientific team who briefed us.

Mechanism-of-action films are the centrepiece of drug and device submissions. An MoA film explains what a compound or device does inside a biological system: where it travels, what it binds to, what it changes. We model the relevant anatomy from anatomical atlases and primary literature, then animate the mechanism at the molecular or cellular scale according to the validated science. These films are produced with clinical consultants reviewing every stage.

Surgical procedure animations reduce learning curves and training costs. We build procedural films from cadaveric protocols, surgical guides, and direct observation where access exists. The camera follows the surgical perspective — the field of view a scrub nurse sees, not an impossible overhead angle — and the pace respects the rhythm of the procedure.

Device demonstration films support the sales conversations that happen between a device representative and a clinical decision-maker. The device must be legible — its key differentiators visible, its implantation or operation sequence clear — in under three minutes. We produce these with the representative's talking points in mind, leaving visual space for the conversation the film is intended to start.

Regulatory submissions increasingly include animation as supporting documentation. FDA, CE, and MHRA review teams have become familiar with animation as evidence and expect it to be produced to a standard consistent with the rest of the technical file. We produce annotation files, rendered stills, and written sequence descriptions to support submission preparation.

Software is invisible. The value of a platform lives in its architecture, its data model, its business logic — none of which a screenshot can show. We build animations that make software visible without misrepresenting it.

UI animations are the most literal format we offer. We rebuild the product interface as a 3D object and animate it in ways a browser cannot: pushing it into depth, orbiting it, pulling components apart to show the system underneath. We work from design files — Figma, Sketch, or a live screen recording — and reproduce the UI at high fidelity. The result looks like the product because it is the product.

Explainer films take on the harder problem of showing what software does, not just how it looks. We use abstract geometry to represent data — flows, states, transformations, decisions — and author a visual grammar specific to the product. An API call becomes a pulse of light. A database transaction becomes a crystalline structure assembling itself. The goal is to produce something that becomes the mental model the viewer carries into the product for the first time.

Data visualisations support the claims that sales and marketing teams need to make. We translate numbers into animations that have visceral weight — the kind of weight that a bar chart does not. Brand films give the company, not the product, a visual identity. We produce these for company announcements, investor relations, and recruitment.

We work with engineering and product teams to understand the technical reality before any creative work begins. An animation that misrepresents the product's architecture will be corrected by the first engineer who sees it. We would rather understand the system correctly from the beginning.