Our pipeline is built around industry-standard tools. We use Autodesk Maya for CG; modelling, animation, and lighting. SideFX Houdini for simulation and procedural effects work such as fire, smoke, water and destruction, and Foundry's Nuke for compositing. Depending on the project, we also work in Unreal Engine, so we can slot into your existing workflow or deliver a finished result entirely in-house.

A VFX compositor brings all the elements of a shot together; live-action plates, CG renders, matte paintings, effects passes, and blends them into a single, seamless image. It's the final stage where a shot either convinces the audience or doesn't. Our VFX compositors work in Nuke, handling everything from keying and rotoscoping through to colour matching, integration and final grade prep.

Yes. If you already have your CG or plates sorted and just need compositing, we can take on shots at any stage. Our Nuke compositing services cover keying, clean-up, beauty work, CG integration, screen replacements and full multi-pass composites, delivered to your spec, whether that's a single shot or a full sequence.

Houdini is our go-to for anything simulated or procedural: pyro effects (fire, smoke, explosions), fluid and ocean simulations, rigid body destruction, cloth, crowds and particle work. Because Houdini is procedural, we can iterate quickly on creative notes without rebuilding a shot from scratch, which keeps revisions fast and budgets predictable

Yes, and we'd always recommend starting there. VFX storyboarding lets us map out your effects-heavy sequences shot by shot before anything is filmed, flagging what needs to be captured on set versus created in post. From there, we move into previs (previsualisation) to build those boards into rough 3D animated sequences, so you can test camera moves, timing and blocking early. Getting this right in pre-production saves significant time and budget once the shoot and post begin.

Our CG pipeline runs through Maya, taking a shot from concept through to final render. A typical workflow looks like this: modelling and texturing the assets, rigging anything that needs to move, layout and animation, then lighting and rendering with the passes each shot needs. Simulation-heavy elements are handled in Houdini and brought back into the Maya pipeline, before everything lands with our compositors in Nuke for final integration. You'll see work-in-progress at every stage, with clear review points built in.

Gaussian splatting is a new technology for capturing and rendering real-world objects and environments as photorealistic 3D assets, built from data such as photo and video. It's a fast, cost-effective way to bring the real-world into a shot without building a 3D model from scratch, and can achieve highly-accurate photoreal results. If you're curious whether it suits your project, get in touch and we'll talk you through what it can do.

Absolutely. We regularly collaborate with other studios, production companies and in-house teams. Whether you need shots delivered as Nuke scripts, EXR sequences with specific AOVs, or Houdini setups your team can pick up and run with, we'll align with your naming conventions, colour pipeline and delivery specs from day one.

Every project is different, so we quote per project rather than off a rate card. Costs depend on shot count, complexity (a simple clean-up is very different from a Houdini water simulation), turnaround and delivery requirements. Send us your script, boards or edit and we'll come back with a detailed breakdown.