It’s not often that the first remark about a director is how easy they are to work with. That’s not the case with our directors either, but they’re not the worst. JK.

Our Motion production squad is comprised of visual problem solvers, planners and ass-busters who prioritize imagery and narrative above all else. The full-time core team sticks together to be nimble for smaller jobs, or splits up to lead multiple units on more complex gigs. One lion is great, but five lions form like Voltron to deal with problems at scale.

We strive to provide a unified vision that’s consistent from pre-production to color and sound design. We exist to serve the creative and relieve the stress from our clients.

Any production, regardless of size, is just big jigsaw puzzle...flying through the air, on a ship in the ocean during a typhoon. Our producers are well versed at gathering all those flying permits, talent, crew, locations, animals, trainers, meals, and organizing them all neatly so our productions run like well oiled, efficient machines.

Growing real grass and building a back yard in studio, making water fly through the air in a perfect spiral, scalp a tree and rebuild it so a squirrel can run up it...these are things we solve on a regular basis.

Our growing Post facility houses our team of editors, sound designers and VFX artists— basically all the tools you need to finish your piece. These folks will chop, polish, enhance, and ENHANCE 'til your heart’s content, and they’ll probably serve you a cortado while you wait.

The final leg of sound mountain. For us, this process is as much about delivering a clean soundtrack as it is about contributing sound that has meaning. Foley can define a character. Music can reveal a mystery and smooth dialogue will make sure everyone understands the punchline.

Have you ever danced with the devil in the pale moonlight of the Kadingir Sanctum? Well, our VFX lead designed that lighting for the latest Doom game (and yes, we obviously know there’s not really moonlight in the Sanctum). Years of experience in big video games and big animated features (think How To Train Your Dragon, The Book of Life) have put our small VFX department in a league with the big dogs. But in order to hang, we know we have to be able to scale with the project; we’ve got connections all over the globe with riggers, modelers, and animators, so we can build the squad to fit the game.