Questions
Answered.

We're based in Fitzrovia, central London — Silverstream House, 45 Fitzroy Street, W1T 6EB. It puts us close to clients across the West End, Soho, Marylebone and the City, and we're easy to reach in person when that's useful.

A large part of our work is with clients outside London — across the UK and internationally. The full production process works seamlessly remotely: briefings, reviews, approvals and delivery all happen online without anything being lost. Being London-based means we operate comfortably across UK and European time zones.

We start by asking what the work needs to do — not what it needs to look like. A brief that's primarily a visual description tends to produce work that looks right but doesn't quite land. A brief built around a clear goal, audience and emotional intention gives us something to design towards.

If the brief is incomplete or unclear, we'll ask before we quote. It's faster and cheaper for everyone to resolve ambiguity at the start than to discover it mid-production. We'd rather spend twenty minutes on a call than four weeks going in the wrong direction.

Motion graphics is the broadest term — it covers animated text, shapes, data visualisation and graphic elements. Most commercial animation contains motion graphics in some form. It doesn't imply a specific dimension or technique, just that graphic elements are moving.

2D animation is built flat — characters, shapes and environments drawn or designed in two dimensions and animated in that plane. It's faster to produce than 3D and works well for explainer content, UI animation and stylised brand work.

3D animation is built in three-dimensional space — objects modelled, lit, and rendered. It produces depth, photorealism, complex surface detail and physical believability. It takes longer and costs more than 2D, but for product visualisation, environmental work, or anything that needs to look tangibly real, it's the right tool. Many productions combine all three.

Audio is scoped at brief stage and considered throughout production — the pacing of an animation is inseparable from the music it will play against. We typically use a temp track during production so that timing decisions are made against something close to the final feel, not in silence.

Voiceover is recorded after the script is locked and the animation is at rough cut stage — so the delivery can be timed precisely to the visual. Music and sound design are composed and mixed against the finished picture. We work with trusted composers and sound designers and coordinate the full audio pipeline so you're not managing separate suppliers.

Most projects follow the same shape: brief and proposal (1 week), script and concept development (1–2 weeks), styleframes and visual approval (1–2 weeks), animation production (2–4 weeks), audio and finishing (1 week). That puts a standard 60–90 second film at around 6–8 weeks end to end.

Shorter timelines are possible — we've produced solid work in 2–3 weeks when the brief was clear and approvals were fast. Longer timelines happen when the project is complex, involves multiple deliverables, or when client review cycles are extended. We build the timeline around your launch date and tell you honestly if we can hit it.

We build structured review stages into every project — script, styleframes, animatic, animation — with two rounds of revisions included at each stage. Each review point is a gate: once a stage is approved, production moves forward from a fixed foundation. This prevents the most common source of cost and time overruns, which is feedback arriving at animation stage that should have been resolved at script stage.

Feedback is consolidated and submitted in a single round per stage, not drip-fed. We'll always tell you if a request falls outside the agreed scope — and give you a clear estimate of what it would cost to include it.

Final rendered files in every agreed format — broadcast (ProRes), web (H.264 MP4) and any social cut-downs (1:1, 9:16, 16:9). Plus full source files: After Effects compositions, Cinema 4D project files, textures, audio stems — everything organised, labelled and handed over cleanly.

Source files are included as standard. They're yours. Future agencies or your internal team can pick up from where we left off without having to reverse-engineer anything.

Yes — both are a significant part of what we do. For agencies, we operate as a white-label production partner: we take the brief, we produce the work, you present it. We can be named or invisible — whichever suits the client relationship. We're used to the compressed timelines and consolidated feedback cycles that agency projects demand.

For direct brand clients, we work as a studio: we're involved in the creative conversation, we develop concepts, we push back when something isn't right. The working relationship is different but the quality standard is the same.

Yes — and for most projects, this is the starting point. Brand guidelines define the static identity; our job is to build a motion language that extends them correctly. We study your guidelines thoroughly before designing anything, and flag early if we think a guideline creates a problem in motion that needs resolving.

If your guidelines don't yet include motion — which is common — we can develop motion guidelines as part of the project. These document how your brand moves, so every future piece of motion content stays consistent regardless of who produces it.

Yes. For clients with a regular pipeline of work — campaign content, social cutdowns, versioning, ongoing brand motion — a retainer arrangement makes sense. It gives you priority access, a consistent team who knows your brand deeply, and a more predictable budget model.

Retainer arrangements are structured around a monthly commitment of days or deliverables, with clear scope. They work best for clients who produce motion content at least monthly. If that sounds relevant, mention it when you send your brief and we'll discuss what the right structure looks like.