We would describe ourselves as a studio composed of artists and programmers who have the common goal of telling new stories in new mediums. We love to create a huge range of cinematic experiences: from abstract animated films to fully immersive VR worlds.
Dreaming big in small spaces
Our dream since we all first met as friends was simply to work together on new and interesting projects. With the sudden availability of VR headsets, we felt like a new opportunity was emerging. A mutual friend came to us looking for 3D models for his cartoon and we knew the time was right to seize the moment.
We eagerly threw away all our spare time for the next 9 months and made Super Turbo Atomic Ninja Rabbit VR. After the release, we got such a fantastic response that we decided to make the dream of running our own studio into a reality.
We began as 5 guys crammed into a tiny spare bedroom: working right inside each other’s personal space on things that we were passionate about. We focussed on that passion rather than worrying about whether it was paid or not and that is a philosophy we continue to hold dear.
We’re still the same group of friends but we’ve advanced to ‘a real life office’. We share our space with an unbelievably talented animation studio called The Line who we’re collaborating on multiple projects with.
Creating without fear
Working in new mediums usually requires new approaches. We confidently experiment to find better and more interesting ways to communicate with people and drive projects forward.
One of our favourite projects we’ve completed was Choreographika. It was a live installation for the MTV European Music Awards that was driven entirely by social media. A wall of screens displayed an abstract dancing figure that would evolve and react to the level of excitement and activity in the build up to the awards ceremony. It ran at 4K/60fps in the Unreal Engine and used the realtime Twitter API to quantify and analyse the tweets that included the #mtevma hashtag.
Changing with tech, not because of tech
Everything we do here ends up in rendering triangles in some way. We’ve seen a real shift in the power to cost ratio of GPUs as well as some amazing advances in rendering and game engines and we want to make the most of that.
We render a lot of work with Redshift because it allows us to make beautiful images without expensive and inefficient CPU render farms.
YellowDog have been fantastic at supporting our work with Redshift. YellowDog gives us the power of a production render farm without us having to worry about the resources we’d need to manage our own. Being able to expand and contract our render capabilities on the fly is vital to letting us tackle projects on any scale – and we’ll be able to talk about some of those projects very soon.