Service 01

Design

The thinking that precedes every frame — identity, campaign art and boards that set the direction before production starts.

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Style frames, colour swatches and storyboard panels pinned across a studio review wall

What this covers

Design is where a project stops being a brief and becomes a direction. Before anything is shot, modelled or animated, someone has to decide what the thing actually looks like — the palette, the type, the framing, the mood, and the rules that keep fifty deliverables feeling like one campaign.

We work at two scales. Sometimes it's the whole identity: the system a brand will use everywhere, for years. More often, on the launches we take on, it's the campaign layer — key visuals, style frames and boards that translate a strategy into something a room full of stakeholders can look at and agree on.

Either way the output is the same thing in the end: a direction specific enough that the next person can execute it without guessing.

What you get

Scope varies by project, but these are the pieces most briefs draw on.

Brand identityLogo systems, colour, typography and the usage rules that keep them consistent across every team that touches them.

Visual designKey visuals and layouts built to survive resizing, cropping and every placement the media plan throws at them.

Campaign artThe hero image and its full family of adaptations across digital, OOH, retail and social.

Storyboards & style framesFrame-accurate boards that lock the film's look, pacing and framing before the expensive part begins.

Why it happens first

Hand-drawn storyboard frames laid out in sequence on a table

Boards settle framing and pacing while changes still cost hours rather than days.

The most expensive revisions in production are the ones that arrive after the work is built. A 3D scene that has to be relit, a film recut because the tone was never really agreed — those cost days each. A style frame costs hours. Locking direction on paper is the cheapest risk reduction available on any project, which is why we push for it even when the timeline feels too tight to allow it.

It also makes everything downstream faster. When the boards are clear, the motion and CG teams aren't interpreting a brief — they're executing against something already approved. Fewer opinions arrive late, and the ones that do have something concrete to argue with.

If you already have a brand

Most of the work we're briefed on sits inside an existing identity rather than replacing one. That's a different job: the guidelines already exist, and the question is how to make a campaign feel fresh without breaking them.

In practice that means finding the room the guidelines leave — in art direction, motion, texture, crop and pace — rather than in the logo and palette. We'll tell you early if a brief can't be delivered inside the current system, because discovering that halfway through production is expensive for everyone.

How it runs

An identity system is the rules, not just the marks — colour, type, grid and how they hold together.

We start from your brief, existing guidelines and whatever reference you already have. The first pass is usually two or three genuinely distinct directions rather than variations on one, so the conversation is about strategy instead of taste. Once a direction is chosen we build it out into the full set of frames, layouts and rules the production needs.

If the project continues into Motion or CG & VFX, the same team carries the direction through — no hand-off, no drift between what was approved and what gets made. Where it helps, AI-assisted exploration widens the first round so you see more directions before committing.