STUDIO WORK
Eleven Pieces, And How They Were Made.
Each piece is set out with what it had to do, how it was built, and what shooting it for real would have required.
These are the studio's own productions, made to show what the pipeline does.
Last Light
What it had to do
Two men face off in a prison yard, then a fight breaks out in a crowded dining hall and guards take one of them away, told without a word of dialogue.
How it was built
Blocked and lit shot by shot from a directed shot sheet, with the yard in hard daylight and the hall under its own ceiling lights.
What a real shoot would have needed
A secure location or a built prison set, a hall full of extras in uniform, a stunt team for the fight, and actors as guards.
The film as built
- Format
- 16:9, 1920 by 1080
- Runtime
- 1 minute 37 seconds
- Studio system applied
- Shot sheet; light and continuity fixed before generation
The Course
What it had to do
A reel of short scenes with the studio's mark on every shot: an office, a car at night, a restaurant, two children by the sea, a concert stage, a kitchen, a sunset and a presenter in front of the studio's name.
How it was built
Each scene built shot by shot and cut together as one reel, opening and closing on the studio's name.
What a real shoot would have needed
Eight locations, a cast for each scene, a concert crowd, and a crew moving between them.
The film as built
- Format
- 16:9, 1920 by 1080
- Runtime
- 43 seconds
- Studio system applied
- Shot by shot; one reel
Cinematic Production
What it had to do
Hold two minutes of sustained continuity across a special operations sequence, desert to dusk, without the join showing.
How it was built
A shot sheet that fixed the light, the terrain and the order of shots up front, so a two minute run of generated footage reads as one operation in one place.
What a real shoot would have needed
A desert location with permits, a unit moving with the light for a full day, and a second day for anything missed.
The film as built
- Format
- 16:9, 1920 by 1080
- Runtime
- 2 minutes 7 seconds
- Studio system applied
- Shot sheet; light, terrain and shot order fixed up front
Canyon Run
What it had to do
Show a black car at speed across the dunes and through a rock canyon, in the aerial language a car brand uses, with the pyramids behind it.
How it was built
Aerial tracking designed on the shot sheet rather than found on the day, with the vehicle, the road and the light held steady from shot to shot.
What a real shoot would have needed
The car, a closed road, an aerial permit, a pilot, a tracking vehicle, and the right hour of light.
The film as built
- Format
- 16:9, 1920 by 1080
- Runtime
- 15 seconds
- Studio system applied
- Shot sheet; aerial and cabin shots
Mainstage
What it had to do
Put a DJ set on a night stage under the tower, with the crowd in front, composed for the upright frame where a release is actually watched.
How it was built
Composed for the upright frame from the start rather than reframed from a wide master, with the stage lighting treated as part of the blocking.
What a real shoot would have needed
A venue, a rig, a lighting crew, an audience, and a slot in a touring schedule.
The film as built
- Format
- 9:16, 1080 by 1920, made upright
- Runtime
- 26 seconds
- Studio system applied
- Format planning; composed for the upright frame
Streetside
What it had to do
Hold a performer on an outdoor festival stage at dusk, closing in on his face where the mouth has to match the track.
How it was built
Frame accurate lip sync as part of the pipeline rather than a fix applied afterwards, with the performer held consistent across the cut.
What a real shoot would have needed
A festival stage, a crowd, smoke and lighting crews, a sound setup, and a run of takes to get the sync right.
The film as built
- Format
- 9:16, 1080 by 1920, made upright
- Runtime
- 11 seconds
- Studio system applied
- Frame accurate lip sync; performer held across the cut
Qissaverse
What it had to do
Carry three animated children through a whole story, out of a library, into an old desert town and home again, with every face and costume the same from the first frame to the last.
How it was built
Directed shot by shot, with each character fixed before generation and held across the frame story and the tale inside it.
What a real shoot would have needed
An animation team to model, rig, light and render three characters and two whole worlds.
The film as built
- Format
- 16:9, 1920 by 1080
- Runtime
- 3 minutes 58 seconds
- Studio system applied
- Shot sheet; reference sheets; three characters held across two worlds
Mess Hall
What it had to do
Fill a dining hall with people in one wide frame, then hold one man's face in the middle of it, in the same world as Last Light.
How it was built
Blocked shot by shot, from the high wide to the close up, with the uniforms, the light and the room held across the cut.
What a real shoot would have needed
A location that looks like a prison, a room of extras in costume, a crew, and a day of wrangling.
The film as built
- Format
- 16:9, 1920 by 1080
- Runtime
- 15 seconds
- Studio system applied
- Shot sheet; uniforms, light and room held across the cut
Trailer Park
What it had to do
Set a mood in fifteen seconds, from a night drive to first light, without a word.
How it was built
Lit and graded shot by shot, with the light moving from dashboard glow to low dawn sun across four shots.
What a real shoot would have needed
A location in woodland, a vehicle, a crew out overnight, and a clear dawn.
The film as built
- Format
- 16:9, 1920 by 1080
- Runtime
- 15 seconds
- Studio system applied
- Shot sheet; lit and graded shot by shot
Yalla Burj
What it had to do
Put a DJ set in front of the skyline at night, with the crowd, the beams and the tower in one upright frame.
How it was built
Cut between the decks, the DJ and the tower, and composed for the upright frame from the start, with the stage lighting and the tower lit as part of the blocking.
What a real shoot would have needed
A stage, a rig, a crowd, permits to film at the tower, and a night the building's lighting could be booked.
The film as built
- Format
- 9:16, 1080 by 1920, made upright
- Runtime
- 20 seconds
- Studio system applied
- Format planning; composed for the upright frame
Desert Traveller
What it had to do
Keep one man the same across a wide, a close up and a walk away, in low desert light, without a word.
How it was built
Directed shot by shot and composed for the upright frame, with the man, his pack and his clothes held across all three shots.
What a real shoot would have needed
A desert location with permits, a performer, and a crew on site for the hour of low sun.
The film as built
- Format
- 9:16, 1080 by 1920, made upright, no sound track
- Runtime
- 15 seconds
- Studio system applied
- Shot sheet; one character held across three shots; composed upright
Tell Us About The Project.
The first conversation covers what the piece has to do: the audience, the message, where it runs, and in which formats and languages. Nothing is committed and nothing is quoted at that stage.
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