Every layer of the image, under one roof

Compositing is where every layer of a shot finally becomes one image. Our compositors integrate plates, CG and practical elements so the result reads as a single photographed moment.

• Plate integration and CG lighting match
• Keying for blue and green screen
• Set extensions and sky replacement
• Beauty, de-ageing and cosmetic fixes

From hero creatures to vehicles and digital doubles, our CG department builds assets that hold up in close-up and perform convincingly next to real actors.

• Modelling and sculpting
• Rigging and creature setup
• Groom, cloth and muscle simulation
• Keyframe and motion-capture animation

Fire, water, smoke, destruction and magic — physically grounded simulations that are still art-directable down to the last particle.

• Pyro — fire, smoke and explosions
• Rigid-body destruction
• Water, ocean and splash simulation
• Particles, debris and atmospherics

Digital matte paintings and full 3D worlds — cityscapes, alien horizons and period recreations built to survive real camera moves.

• 2.5D and full 3D matte painting
• Set extensions and skylines
• Period and historical recreations
• Sky and day-for-night replacement

Real-time LED volume content, in-camera VFX and on-set technical support, so directors see the final world while they shoot.

• Unreal Engine environment builds
• LED volume content optimisation
• Virtual scouting and tech-vis
• On-set real-time operators

Plan complex sequences before the cameras roll, then lock edits faster with rough comps that show the story early.

• Sequence previs with real lens data
• Pitchvis for development
• Tech-vis for camera, crane and rig planning
• Postvis temp comps for editorial

Look development defines how every CG asset responds to light, so creatures, vehicles and props sit naturally in any plate they are dropped into.

• Physically based shading
• Texture painting and material scans
• Lighting studies under multiple HDRIs
• Turntables against plate lighting

Paint, roto and plate preparation that make every other department faster — and the invisible fixes that save shots on set.

• Rotoscoping and articulate mattes
• Rig, wire and tracking-marker removal
• Boom, crew and reflection clean-up
• Clean plate creation

Title sequences, screen graphics and in-world interfaces designed to feel native to the story they live in.

• Main and end title sequences
• Screen and UI graphics for set and post
• HUD and in-world interfaces
• Map, data and diagram animation