1ceiga.co.uk

ISSUE 13 / NOV-DEC 2012

CreativeAdvertising

£3.50 / €4.50

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M A G A Z I N E

sketchfab.com

Maison d’artiste by klaasnienhuis (top). Bob by Zafia (bottom).

EDITOR

Richard Bray

LAYOUT ARTIST

Chris Miller

RESEARCHER

Ashlee Lenton

WEBSITE EDITORRichard Bray

ADVERSITING

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SPECIAL THANKS

Sam Bathe, 125 Creative, Jan Rambousek

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Insert Coin ad_216x273.pdf 27/6/12 11:48:43

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contentsNOVEMBER - DECEMBER 2012

On the front 08MDI - Digital

Agent Bob 36Taylor James 22

Playground 58

12

Shadowplay 46

The Operators 68

19

29

43

55

63

75

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ZBrush has quickly become an integral part of the 3D modeling industry. ZBrush Character Sculpting: Volume 1 examines the tools on offer in this ground-breaking software, as well as presenting complete

projects and discussing how ZSpheres make a great starting point for modeling.

Aaron Sims

ISBN – 978-0-9551530-8-2 | Softback / Slipcase – 220mm x 297mm | 240 full color premium paper pages | £29.99 / $49.99

Get 20% off this book when you enter the promo code: ceiga20This offer is subject to terms and conditions and can be withdrawn at anytime.

available now from: www.3dtotal.com/shop

This book offers a great gallery of work from today’s best artists and an insightful look into the creature and character design process. It provides a helpful breakdown written

by various artists, explaining the steps they took to create truly unique andeye-catching designs.

7ceiga.co.uk

“

R.BrayRichard BrayEditor

“

Everywhere you go you are bound to see an advert or two dotted around the place; on the television, on pages of your favourite magazine or even in some of the games you play. They are almost everywhere, however most of the adverts you come across are either ignored or forgotten within moments of seeing them.

There are those that stick with you; those that you can’t get out of your head, those that are worth taking a pictire of, searching the internet for and plastering all over your numerous social network profiles. What makes

these so special? The way their message was conveyed? Their clever use of images and colours? All this and much more is down to the creativity of the advert.

This issue contains work from six incredibly talented creative production studios as well as a few intervews and for the first time, a tutorial. We are also doing something a little different in this issue and replacing the write up for the cover image with some very insightful images of how it was made.

I hope this issue makes you aware of the effort and attention to detail that goes into creating the print adverts you see here and all the others you see in the future. Enjoy.

Creative without strategy is called ‘art.’ Creative with strategy is

called ‘advertising.’

- Jef I. Richards

EDITOR’S LETTER

ZBrush has quickly become an integral part of the 3D modeling industry. ZBrush Character Sculpting: Volume 1 examines the tools on offer in this ground-breaking software, as well as presenting complete

projects and discussing how ZSpheres make a great starting point for modeling.

Aaron Sims

ISBN – 978-0-9551530-8-2 | Softback / Slipcase – 220mm x 297mm | 240 full color premium paper pages | £29.99 / $49.99

Get 20% off this book when you enter the promo code: ceiga20This offer is subject to terms and conditions and can be withdrawn at anytime.

available now from: www.3dtotal.com/shop

This book offers a great gallery of work from today’s best artists and an insightful look into the creature and character design process. It provides a helpful breakdown written

by various artists, explaining the steps they took to create truly unique andeye-catching designs.

8

On The Front

Client - Mercedes Benz CGI & Post - Playground.Project - Silver Arrows .

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10

TheMaking

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MDI Digital is a CGI production studio based in the UK.They have over 20 years experience producing high end, large format artwork and animation for the entertainment and advertising industries, from characters & products to typography & retouching.MMDI Digital

mdi-digital.com

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Alternative OscarsClient - Esquire CGI & Post - MDI-Digital.

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Fruity Drinks & Lunchtime DreamsClient - Oasis/Coca-Cola Company . Agency - Mother London CGI & Post - MDI-Digital.

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Ice ButlerAgency - Mother NYC Additional Post - Rondell Meeks.Client - Stella Artois . CGI & Post - MDI-Digital.

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Race Days Christmas CampaignAgency - MosaicClient - Silverstone . CGI & Post - MDI-Digital.

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Golden DuckAgency - VCCPClient - O2 . CGI & Post - MDI-Digital.

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VegetablesAgency - EuroRSCGClient - Ristorante Cantina Zurich . CGI & Post - MDI-Digital.

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Go Audio - Made Up StoriesDesign - Zip DesignClient - Epic Records . CGI & Post - MDI-Digital.

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Taylor James

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Taylor James is a high-end Creative Production Studio, renowned for photographic realism & attention to detail. The studio delivers content for leading agencies and brands worldwide across print, interactive & broadcast media campaigns. With CGI, photography, live-action & post-production under one roof, the studios in London and NYC tailor productions to realise the full potential of campaigns.

taylorjames.com

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PegasusAgency - MWorksClient - Huawei . CGI & Post - Taylor James.

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Liberty Mutual ‘Paper’Agency - Hill HollidayClient - Liberty Mutual . CGI & Post - Taylor James.

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Polar BearProduction Company - Taylor James

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Water TrailPhotography - Simon ThorpeAgency - GSW Worldwide . CGI & Post - Taylor James.

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SimponiAgency - DDB RemedyClient - Simponi . CGI & Post - Taylor James.

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Russian Standard VodkaClient - Russian Standard Vodka CGI & Post - Taylor James.

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StatoilAgency - McCann, OsloClient - Statoil . CGI & Post - Taylor James. Photography - Andy Glass.

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Lemon SlashWhen I was putting myself to work on “Lemon slash” I was working on commercial visualizations and because of that I didn’t have too much free time. One evening I decided to make something else to relax. The idea was to make something small, but very detailed and unusual in just one evening. A slashed fruit was a good idea.

Gathering References

First of all I had to gather some references. The main objective here is to find an image with the main shape of a lemon, the cross section and some images showing various parts of it. Always try to select a good reference to get a realistic, but “catchy” shape of the upcoming model.

1 Reference Modelling

After putting on a plane my image of the main shape of a lemon, I started to draw a smooth line along the border so the shape resembles the one from the reference. There’s no need to draw along the whole border – simply just draw half of it and use lathe modification to turn it around obtaining that lemon shape. Now it’s very important to focus on the shape. For my taste, the obtained shape was very stumpy, so I needed to scale it a little.

2 Deformation

After obtaining an interesting shape, I needed to get rid of the regularity so the look is more natural. For this I used Paint deformation on my polygon shape making both ends of the lemon, and some wavy irregularities along the surface. Have in mind that at one end we need to make the stem.

3

The Stem

After modelling the bulge of the lemon, I began with a sphere to make the stem. I also used the paint deformation tool and some noise modification to obtain a stem-like object which I would paste to the end of the lemon.

4 Shading

I wanted to make the material of a lemon through shading without the need to use textures. For this I tried to focus on every part of the shading. For the diffuse color I used a falloff material of Distance Blend type in which I found fresh lemon colors.

Tip: If you have a problem finding a color, you can always import an image to 3ds max and take it through “sample Screen Color”.

As for the reflections I used only fresnel reflections like in the picture.Now the main “attraction” of the lemon is the lemon peel. For this I used Bump and Displacement. Bump with noise material for noisy/irregular surface, and Displacement with cellular material for the peel.

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T U T O R I A L B Y C H R I S J O H N D E B S K I

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Shading pt.2 Now that I had the lemon peel ready and steady, to keep it natural I needed to make some parts turned green – mainly at the bottom where the stem is. To obtain that kind of effect I used VrayBlendMtl where the base was my material from above and a coat material (same as lemon peel, but without bump or displace, and with a green falloff in the diffuse) with VrayDirt in the blend amount. This time doubled for a better effect of the green part. Having in mind, that the stem interacts a little with the lemon – there will be more green color there than in the rest of the lemon. Same goes for the other end, where the wire is focused. For a better effect of the lemon peel – I used again the base material as coat material with a darker diffuse and the displacement cellular map as blend amount. This gives us a darker porous surface.VERY IMPORTANT – the diffuse color should be just a bit darker, not too different of the one from base material.

6 Shading pt.3

The Shading is almost done. Just need the stem material. For this one I used a Gradient map with green/brown colors in the diffuse and reflection channel. Reflection glossiness changed to 0.7. Seems it worked fine for me. Also used a little bump with a noise material to get more irregularities on the stem.

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Lights, Camera, Action The scene setup is pretty simple. I made a sheet-like object (similar to the ones used in real studios). with a spline which I extruded after. Applied a very basic material with just a little gradient on the diffuse channel. The light setup need to express the lemon peel and make it catchy. For that I used 2 lights from behind the lemon (one above, one below) and one from behind the camera to light up a little the front. This way I could show the consistency and reflectivity of the lemon peel. The camera is really basic. I just increased the focal length to 70mm and zoomed the image to flat a bit the lemon. F-number changed to 1.8 and unchecked Vignetting. Voila!

8 Render Settings9

Slash it

For this I converted to poly once again the whole lemon, and selected half of it (face selection). After detaching it, I placed both parts (with the stem!) in a “commercial pose” to show the interior of the lemon. I needed to close the hole after slashing it, so I just selected the border – extruded by 0 units and scaled it down then cap it. Selected the border once again and chamfered it with a few segments (4-7) for better results.

10

I don’t use gamma correction, so the Gamma/LUT setup is unchecked (Rendering -> Gamma/LUT setup…). For the rest… I will let the images below speak for themselves.

Slash it pt.211

Now I just had a dilemma – how would I create the inner part of the lemon. I could model it, or make it through a texture. Keeping the basic idea of making it fast – I went with the texture. For this I had to find a really good photo of a lemon interior and make it through Photoshop to get it out and make other masks for a good render result (keeping in mind all the time, that it will be the main part of the visualization!).After the process of making the texture, I selected the faces of the slashed part of the lemon and applied the new material (watch out for the borders! Apply it that way so the displacement map doesn’t go beyond the edges too much).

For higher resltuion images and a more detailed tutorial visit, ceiga.co.uk/blog/lemon-slash-tutorial-3ds-max-vray/i

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Last Details

To make the slash scene look more realistic – I made some water drops in the air by using the Super Spray particle system as shown and placed it so there were drops near the camera and far beyond the lemon. I then doubled the Super Spray object and made a bit more drops in the middle of two halves so it gains a bit more expression. It will look very cool with blurred and focused drops in the air!

12 Last Details pt.2

I also did some drops on the lemon interior, so it looks juicier. For that I made some spheres which I deformed using Soft Selection on the vertices. The water drops have a simple material of water witch a bit more reflection to gain some more detail.

13 Render and Post Process

For the final retouch I used all the vray passes to adjust color and light correction. I also added some gradient maps and individual curves, exposure and color balance correction.

14

Render and Post Process pt.216

Final Image17

I hope you enjoyed the making of this simple but detailed scene as I did making it. The idea was to make it fast and show how an evening is long enough to make something unusual. If you have any doubts or comments you would like to share – feel free to contact me.

Be creative!

Facebook page: http://www.facebook.com/ChrisJohnCGPortfolio: http://chrisjohn.cgsociety.orgTel.: +48 695 042 797Mail: k.debski123@gmail.com

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35ceiga.co.uk

RESELLCloud Backupwith unlimited storageto all of your customers

For just £39.95 a month for UNLIMITED customers30 day money back White label everything Instant online setup

10%DISCOUNT

†

USE CODE: CE0912B

www.livedrive.com/resellers Questions? Call 020 3137 6446

O� er valid for 3 months from publication date. Discount will be applied to all costs at checkout (set up fee, branding fees, annual fee and/or � rst month fee).†

don’t forget your

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37ceiga.co.uk

Agent Bob

Agent BOB is an illustration studio and CGi artist agency based in London, specialising in CG imaging, animation and VFX

for the global entertainment and advertising industries. For 20 years the Agent BOB team have been producing high quality

commercial CG illustrations, motion graphics and character design and regularly work with some of the largest advertising

agencies and brands in the world.

agentbob.co.uk

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FlyknitClient - Nike CGI & Post - Agent Bob.

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Paper PantherClient - Intel CGI & Post - Agent Bob.

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Absolute VodkaCGI & Post - Agent Bob

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02 - BubblesCGI & Post - Agent Bob

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Living TVCGI & Post - Agent Bob

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Sourpatch CharacterCGI & Post - Agent Bob

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MillerCGI & Post - Agent Bob

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3D CarsCGI & Post - Agent Bob

46

Digital District on Peugeot Onyx ‘Alchemy’

Once Peugeot decided tounveil the prototype for their stylish new concept car, they chose none other than French studio to create a phenomenal promotional film for it. We talk to Vincent Guttmann (Lead 2D) and

Benoit Revilliod (Lead 3D) to find out how the project was taken on.

1) What was your role in the creation of the Peugeot Onyx piece and how did you develop an interest for what you do?

Vincent Guttmann: Our role in this creation is to listen to the director and give him the ability to do what he wants. We have to create the best team for his purpose. Then we have to act like a consultant. As supervisors we bring ideas and technology to make this movie possible. This kind of creation is why we are so passionate about our work because it is a post production movie. Everything is decided in post production by the edit and then by the effect we can do. The ability to create and work directly with the director is what we are deeply interested in.

Benoit Revilliod: At Digital District, we always try to work as much as possible on ambitious projects with artistic and technical challenges. So, obviously, when we received this commercial’s storyboard we couldn’t be anything else but thrilled to start this

big adventure. Having the possibility to do macro materials in CGI is an exciting challenge for any graphic artist who loves the rendering.

2) How many artists were involved in it’s overall creation and how did it feel working with them?

VG: There were about 20 graphic artists working on the feature. We try as much as we can to work with the same artists on every features. So I would say that it was, as usual, pretty cool. But this time we had a real powerful 3D FX team. This was a big part of the movie. Then we had the usually composting team who like to melt 3D fx with stock shots.

BR: There were about twenty artists involved in this project, a dozen designers, many specialists in 3D vfx techniques like fluids, clothes, rendering and composting. But one of the most important things to keep in mind when you work on those kind of movies is

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to have a good team spirit. In order to achieve complex and tricky vfx you have to get along with the people you work with. I think this way of thinking is one of the strength of our studio.

3) There seems to be a lot of realistic particle effect, fluid simulations and car shots in the advert. Was all of it computer generated?

VG: As I said before we worked a lot on 3d particles, and then we had a few stock shots. I think this bring the accident you can find in the real life. But all the paper shots for example were done in full CG. And for the lava shots, we had stock shots for and the little explosions, but everything else was CG.

BR: In this movie the vfx are very managed because during the preparation of the film, we talked and thought a lot about what would be shot and what would be CGI. We decided at the early stage of the production which techniques will assure us to have the most perfect images at the end. The main goal for us was people not be able to tell what was real and what wasn’t. For

example, the copper macro is completely shot, but the lava and the smokes are in full 3d. In order to achieve all the effects, we used several simulation techniques: materials and fabric for the paper, we used Maya for the final shots of the movie and Nayad for the lava. We also use Vray as a renderer. The composting was done on flame flare.

4) Lastly could you share with us what projects you are working on in the future either personally or with Digital District?

VG: We have a lot of ambitious projects to come at Digital District but you will have to wait and see. We promise to not disappoint !

Just in case you haven’t yet seen Peugeot Onyx Alchemy I’ve placed it above this paragraph. Many thanks to Vincent Guttmann and Benoit Revilliod from Digital District for taking time out of their busy schedules to answer these questions, and thanks to Celia Rocher for making sure the questions got answered.

“ The main goal for us was people not be able to tell what was real and what wasn’t. ”

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SHADOWPLAYA creative studio specialising in high-end still and moving image production. With a background in Advertising Photography and Moving Image spanning two decades we create visual stories for print, web and broadcast media. With

full service production in Photography, Film, Post Production and CGI from our central studios, our team will guide you from initial idea to finished

campaign.

shadowplay.co.uk

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SeeCGI & Post - Shadowplay

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MitshibishiASXClient - Oasis Post CGI & Post - Shadowplay.

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PhilipsNurelcoAgency - Stink DigitalClient - Philips . CGI & Post - Shadowplay.

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Shell Brand AdvertArt Direction - Gyro CGI & Post - Shadowplay.

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Volkswagon SciroccoCGI & Post - Shadowplay

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Bosch Home ProfessionalAgency - ADV.PLClient - Bosch . CGI & Post - Shadowplay.

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Bosch SensixxAgency - ADV.PLClient - Bosch . CGI & Post - Shadowplay.

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Syrena SportCGI & Post - Shadowplay

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playground

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Playground studio offers creative retouching, illustrations, CGI and CGI animations under the one roof. We are based in the heart of Europe in Prague. We help develop exclusive design concepts and layouts. Our team consists of experienced retouchers, CGI artists, architects, illustrators and designers which together, build a strong team for your projects. We will be more than happy to welcome you to our new office with lovely garden in the center of Prague, whether you have an exciting project or simply wish to say hello.

plgr.cz

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TzechinnoClient - TzechinnoAgency - Publicis Prague . CGI & Post - Playground.

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VodafoneClient - VodafoneAgency - Red Team . CGI & Post - Playground.

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KBClient - KBAgency - Euro RSCG . CGI & Post - Playground.

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Porsche 911 GT3Client - Ramp Magazine CGI & Post - Playground.

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GeneralliClient - GeneralliAgency - Hullabaloo . CGI & Post - Playground.

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CoopClient - CoopAgency - Jandl . CGI & Post - Playground.

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1) Could you tell me a little bit about Neon studio and

how it came together?

We’re a creative studio formed in London in 2010, helmed

by Tom Bridges, Roland Woolner and Charlie Cassidy,

(previously, Tom and Roland had co-founded UNIT Post).

The guys set out to create a boutique company with a

hands-on approach, so that clients are able to collaborate

directly with our team of creative directors and artists.

We lend a personal touch to a wide range of production

services for commercials, animation, film and print.

2) How did you approach the Sky - Rainforest advert in

terms of brief and storyboard?

We were briefed in by Brothers & Sisters, one of Sky's

agencies. Sky were keen to advertise their Rainforest

Rescue scheme, and their partnership with WWF. Our

brief was to bring the rainforest, (and its awesome

creatures) into a family kitchen, in order to explain how

Sky match their customers' donations.

The line in the script read ‘The rainforest comes to life’,

so we were responsible for translating this into reality:

designing and implementing all the visual effects in

A Rainforest in a KitchenLondon studio Neon have put together quite an

impressive advert for Sky. Mixing 3D ‘cardboard

like’ objects with live action. We interview Teddy

Powell Creative Producer to find out how it was

done.

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the spot. Of course this included the 3D cardboard

environment and creatures, but also required replacing the

external environment outside the kitchen – as well as the

usual roto and cleanup.

3) What technologies/software did you use to produce

the advert?

We used Cinema 4D, 3D Studio Max, PFMatchit, and made

full use of Nuke's 3D toolset. 3DS Max enabled us to get

the jaguar animation looking good, while PFMatchit was

essential for camera tracking. The environment and other

characters were built and lit in C4D and all compositing

was carried out in Nuke.

We also wrote some of our own custom scripts to export

Cinema 4D's geometry, cameras and lights into Nuke,

which was hugely useful when it came to compositing.

4) I am really impressed by the cardboard cut-out effect

of the advert. How and why did you do it?

It’s part of a wider family of ‘Better Effect’ commercials

that we’ve made with Brothers & Sisters. Sky were looking

for a way of showing how the broadcaster enhances

customers’ lives: Sky believes in better, and so these

cardboard cut-outs are a manifestation of the ‘Better Effect‘.

Every ad in the series has presented its own opportunities

- and in this case we're really proud of the jaguar character.

It's the first quadruped we've tackled, and it required a lot

of design time to get a cardboard jaguar moving like the

real thing. We exported from Max to Cinema 4D via FBX.

The toucan was simpler, and was rigged and animated in

Cinema 4D.

5) What is the future of Neon? Do you have any

interesting projects lined up?

It’s a really good time for us. We have a great mix of

projects in the studio including a live action/CG spot,

another series of Sky commercials and some photo-real

CGI work for a jewellery brand. We’ve also got some cool

R&D concepts on the go which we’re hoping to reveal

before Christmas.

We’re excited about what the future holds. Our existing

relationships are more like partnerships, and we want

to work with more people in this way, whether it be

individuals with great vision, or clients who demand

technically adventurous, high-grade artwork and

filmmaking.

We just want to make lovely work, with lovely people.

World domination would be an unexpected bonus.

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THE OPERATORSThe Operators create exceptional content across print and digital media, for global advertising agencies, leading commercial

photographers/directors and brands.

The Operators are committed to producing innovative work that is creatively led – immortalising ideas into campaigns. Our services

extend to delivering full media solutions, including, CGI, IMAGEmotion™, Post Production and Motion, plus an expertise that covers,

creative direction, technical proficiency and production management.

theoperators.net

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SharksCGI & Post - The Operators

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Hugo BossClient - P & GAgency - Grey London . CGI & Post - The Operators.

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Castrol CamShaftClient - CastrolAgency - 20:20 Agency . CGI & Post - The Operators.

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AsteroidPhotograper - Rob Payne CGI & Post - The Operators.

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White PointClient - South African WinesAgency - Publicis QMP . CGI & Post - The Operators.

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Snot SwingClient - MolaAgency - McCann Erickson Polska . CGI & Post - The Operators.

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Audi Seasons – RainingCGI & Post - The Operators

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Final Print – WomanClient - AstraZenecaAgency - Saatchi & Saatchi Health . CGI & Post - The Operators.

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STUDIO LISTAardmanwww.aardman.com

Absolute Postwww.absolutepost.com

Absolutely Cuckoowww.absolutelycuckoo.com

Air CGIwww.air-cgi.com

AKQAwww.akqa.com

Animatic Mediaanimaticmedia.com

Annix Studioswww.annix.com

Artillery www.artillery.tv

Atticus Digitalwww.atticusdigital.com

Atticus Finchwww.atticusfinch.tv

Axis Animationwww.axisanimation.com

Barefoot VFXbarefootvfx.com

Base Blackbaseblack.com

BE Animationbeanimation.com

Blink Productionswww.blinkprods.com

Blitz Game Studioswww.blitzgamesstudios.com

Blue Boltwww.blue-bolt.com

Blue Zoowww.blue-zoo.co.uk

Brandt Animationwww.brandtanim.co.uk

Bravo Gamesbravogames.com

BreakThru Filmswww.breakthrufilms.co.uk

Burrows Nvisagewww.burrows.info

Busty Kelpwww.bustykelp.com

Cinesitewww.cinesite.com

Climax Groupwww.climaxgroup.com

Codemasterswww.facebook.com/codemasters

Colonel Blimpwww.colonelblimp.com

Criterion Gamesblog.criteriongames.com

Darkhorse VFXwww.darkhorsefx.com

Darkside Animationwww.dsanim.com

Dinamo Productionswww.dinamo.co.uk

Distant Future Animation Studioswww.distantfuture.co.uk

Double G Studioswww.doublegstudios.com

Double Negativewww.dneg.com

Drive CGIwww.drivecgi.co.uk

Eggbox Studioswww.eggboxstudios.co.uk

Envywww.envypost.co.uk

Eurocomwww.eurocom.co.uk

Fluid Pictureswww.fluid-pictures.com

Foundation CGIwww.foundationcgi.com

Framestorewww.framestore.com

Full Moon Studiosfullmoongamestudios.com

Gameloftwww.gameloft.co.uk

Glassworkswww.glassworks.co.uk

Glowfrog Studiosglowfrog.com

Golden Squarewww.goldensq.com

Hot Knife Digital Mediawww.hotknife.co.uk

ICubewww.icube3d.co.uk

Ignition Entertainmentwww.utvignition.com

I love Dustwww.ilovedust.com

Image Metricswww.image-metrics.com

Infinite Realititeswww.ir-ltd.net

Ink Digitalwww.inkdigital.co.uk

Jagexwww.jagex.com

Jellyfish Pictureswww.jellyfishpictures.co.uk

Jump Designwww.jumpdesign.co.uk

Kazoo Creativewww.kazoo-creative.com

Kettle Studioswww.kettlestudio.co.uk

Keframe Studioskeyframestudios.co.uk

Kuro Dragonwww.kurodragon.com

(UK only)

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Lab 10 Studioswww.lab10.com

Lionhead Studioslionhead.com

LipSync Postwww.lipsyncpost.co.uk

Locomotionlocomotionpost.wordpress.com

Lolawww.lola-post.co.uk

Loose Moosewww.loosemoose.net

Mainframewww.mainframe.co.uk

Man Vs Machinewww.manvsmachine.co.uk

Masquerade Digitalwww.masquerade-digital.com

Matinaiwww.matinai.com

MDI Digitalwww.mdi-digital.com

Method Studioswww.methodstudios.com

Molinarewww.molinare.co.uk

Motion Imagingwearemi.com

Monumental Gameswww.monumentalgames.com

MPCwww.moving-picture.com

Munkywww.munky.uk.comNeonwww.neon.tv

Neoscapewww.neoscape.com

Nexus Productionswww.nexusproductions.com

Ninja Theorywww.ninjatheory.com

Not to Scalewww.nottoscale.tv

NSC Creativewww.nsccreative.com

Nvisiblenvizible.com

OG Internationalwww.og-international.net

Passion Pictureswww.passion-pictures.com

Peanut FXwww.peanutfx.com

Peerlesswww.peerless.co.uk

Pitbull Studiowww.pitbullstudio.co.uk

Plowman Cravenwww.plowmancraven.co.uk

Prime Focuswww.primefocusworld.com

Quay Studioswww.quaystudios.com

Qurioswww.qurios.com

Realtime UKwww.realtimeuk.com

Realisewww.realisestudio.com

Relentless Softwarewww.relentless.co.uk

Rockstar Northwww.rockstarnorth.com

Realtime Technologywww.realtime-technology.comRumble Studioswww.rumblestudios.com

Rusheswww.rushes.co.uk

Saddington Bayneswww.saddingtonbaynes.com

Slideslidelondon.com

Smoke & Mirrorswww.smoke-mirrors.com

Speed Shapewww.speedshape.com/

Studio AKAwww.studioaka.co.uk

Sumo Digitalwww.sumo-digital.com

Supergluewww.wearesuperglue.com

Taylor Jameswww.taylorjames.com

Ten 24www.ten24.info

Territory Studiowww.territorystudio.com

The Creative Assemblycreative-assembly.com

The Foundrywww.thefoundry.co.uk

The Millwww.themill.com

The Senatewww.senatevfx.com

The Workswww.worksltd.co.uk

Tigrexwww.tigerx.co.uk

TT Gameswww.ttgames.com

We Are Seventeenwww.weareseventeen.com

Zoozoovfx.com

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