Explainer video and logo animation, finished by hand.
Generative tools do more of this work every year, and they do it well. What they do not do is land it — and that last pass is ours.
The parts that have to be exact.
Generation has become genuinely good, and we lean on it — boards, references, backgrounds, movement that used to be built keyframe by keyframe. It saves real time, and pretending otherwise would be a strange thing for a studio to do.
What it does not do reliably is land on something that already exists. A generated logo that is nearly your logo is not your logo. Type that is nearly your typeface is not your typeface. A transition that is nearly on the beat reads as an accident rather than a decision. So the last stage here is always manual: corrected, cleaned, retimed and finished by a person until the piece matches what it has to match.
Four things we make.
Explainer video
A product or a service explained in one piece. You say what it has to contain, or bring the script you already have; we board it, animate it, and can voice it with a professional-grade synthetic voice. Length, languages and files are agreed in writing first.
Logo animation and idents
The few seconds at the head and tail of everything you publish. Built once, it runs on every piece you make for years — which is why a bad one is expensive. The mark is rebuilt as artwork and finished by hand, because nearly right is not right.
Titles and lower thirds
Name plates, captions, callouts and end frames, built to match each other rather than made one at a time. Use it when somebody on your side cuts video every week and is currently waiting on a designer for a name plate they need that afternoon.
Presentation and stage graphics
Decks built to be watched rather than read: type that moves, transitions that carry an argument from one point to the next, and graphics timed to what the speaker is saying. For rooms where the slide has to carry from the back row.
What is generated, and what is drawn.
Where generation does the work. Boards and reference frames, backgrounds and plates, and movement that would once have been built keyframe by keyframe. Voice, where a piece needs one — a professional-grade synthetic voice, agreed with you before it is used.
Where hands do. Anything that has to match something you already own: the logo, the type, the brand's own colors. Rotoscoping. And timing, which is the part no prompt describes.
The pass that always happens. Generated material does not arrive finished. It is corrected, cleaned, retimed and polished by a person before it goes anywhere, and there is no work here that skips that.
Not animated here. Character work where the performance has to be directed shot by shot, and the rigging that goes with it. Heavily built 3D scenes — the kind where building the scene is the job. Two refusals, and they do not move for a budget.
What clients ask before commissioning.
Do you write the script?
You bring it, or you tell us what it has to contain and we work it up with you before anything is boarded. If the piece needs a voice, we can produce one — a professional-grade synthetic voice, agreed with you before it is used.
Can you match an animation we already have?
Yes, and that is exactly the work the last pass exists for. Matching something that already exists is where generated output stops being enough, and where the hand finishing earns its place.
Do we get the project files?
For clients we work with regularly, yes. Otherwise we keep them — the deliverables are the finished files in the formats agreed at the start. If project files matter to you, say so before the estimate rather than after.
How many revisions are included?
The number is set in the estimate before work starts, so it is never a discussion at the end. On a fixed price, which revisions are covered is agreed together with the price, minor and major named separately.
How long does it take?
It depends on length and on how much has to be built rather than generated. As one real measure: a four-minute explainer took about a week and a half of work. That is working time, not a delivery date — the calendar also depends on script sign-off and how comments come back.
What do you need from us to start?
The script or what it has to say, your brand rules if they exist, and any material we should be building from. And the guideline: what is allowed, what is not, and where you are flexible.
Tell us what needs animating.
The rest of the pipeline.
These three run in the same place, on the same standards. Most jobs touch more than one.
AI & UGC ad creative
UGC-style performance creative at testing volume for mobile advertising: scripts, angles, AI performers, variation waves and cutdowns, delivered to each platform's file spec.
Post-production
Assembled footage to a delivered master: edit and conform, VFX and cleanup, sound design and mix, color where the shot needs it, and every delivery file your platforms require.