We are an artist-led creative studio. We move in crafting intuitive audiovisual design for musicians, films, advertisements and events.

We believe that stories born from true insights and told with creative imagination have infinite power. They can change minds, affect cultures and cross borders.

Our mission couldn’t be simpler: to create these stories.

We move in end-to-end content creation, specializing in 3D & 2D animation and motion graphics, CGI, video & film production, and design. Using these mediums, we imagine and realise award-winning content experiences.

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Sound design is the art and practice of creating soundtracks for a variety of needs. It involves specifying, acquiring or creating auditory elements using audio production techniques and tools.

We are an artist-led creative studio. We move in crafting intuitive audiovisual design for musicians, films, advertisements and events.

We are an artist-led creative studio that combines design, art & motion to produce innovative visual experiences for global brands and businesses.

Led by London based Creative Director Remy Williams, our talented team of artists have been producing high-end visual communication with brands such as Amazon, ASUS, Activision, Adidas, CGTN, Lionsgate, Marvel, NVIDIA, Nike, Renault and many more.

We strive to think in the future so when we build a project, we also build ourselves. We build relationships with our clients and collaborators, because behind the craft, it's all about people.

Through research and development, the foundations of our work is based on thoughtful concepts, artistic expressions and purpose. Thus we are effectively and successfully able to communicate our clients’ brand and inspire their audience.

In 3D computer graphics, 3D modeling is the process of developing a mathematical coordinate-based representation of any surface of an object (inanimate or living) in three dimensions via specialized software by manipulating edges, vertices, and polygons in a simulated 3D space.

We are an artist-led creative studio. We move in crafting intuitive audiovisual design for musicians, films, advertisements and events.

Three-dimensional (3D) models represent a physical body using a collection of points in 3D space, connected by various geometric entities such as triangles, lines, curved surfaces, etc. Being a collection of data (points and other information), 3D models can be created manually, algorithmically (procedural modeling), or by scanning. Their surfaces may be further defined with texture mapping.

Today, 3D modeling is used in various industries like film, animation and gaming, interior design and architecture. They are also used in the medical industry to create interactive representations of anatomy.

The medical industry uses detailed models of organs; these may be created with multiple 2-D image slices from an MRI or CT scan. The movie industry uses them as characters and objects for animated and real-life motion pictures. The video game industry uses them as assets for computer and video games.

The science sector uses them as highly detailed models of chemical compounds.

The architecture industry uses them to demonstrate proposed buildings and landscapes in lieu of traditional, physical architectural models. Additionally, the use of Level of Detail (LOD) in 3D models is becoming increasingly important in the AEC industry. LOD is a measure of the level of detail and accuracy included in a 3D model. The LOD levels range from 100 to 500, with LOD 100 representing a conceptual model that shows the basic massing and location of objects, and LOD 500 representing an extremely detailed model that includes information about every aspect of the building, including MEP systems and interior finishes. By using LOD, architects, engineers, and General contractor can more effectively communicate design intent and make more informed decisions throughout the construction process.

The archaeology community is now creating 3D models of cultural heritage for research and visualization.

The engineering community utilizes them as designs of new devices, vehicles and structures as well as a host of other uses.

In recent decades the earth science community has started to construct 3D geological models as a standard practice.

3D models can also be the basis for physical devices that are built with 3D printers or CNC machines.

In terms of video game development, 3D modeling is one stage in a longer development process. Simply put, the source of the geometry for the shape of an object can be:

A designer, industrial engineer or artist using a 3D-CAD system
An existing object, reverse engineered or copied using a 3-D shape digitizer or scanner
Mathematical data stored in memory based on a numerical description or calculation of the object.

A wide number of 3D software are also used in constructing digital representation of mechanical models or parts before they are actually manufactured. CAD- and CAM-related software is used in such fields, and with this software, not only can you construct the parts, but also assemble them, and observe their functionality.

3D modeling is also used in the field of industrial design, wherein products are 3D modeled before representing them to the clients. In media and event industries, 3D modeling is used in stage and set design.

The OWL 2 translation of the vocabulary of X3D can be used to provide semantic descriptions for 3D models, which is suitable for indexing and retrieval of 3D models by features such as geometry, dimensions, material, texture, diffuse reflection, transmission spectra, transparency, reflectivity, opalescence, glazes, varnishes, and enamels (as opposed to unstructured textual descriptions or 2.5D virtual museums and exhibitions using Google Street View on Google Arts & Culture, for example). The RDF representation of 3D models can be used in reasoning, which enables intelligent 3D applications which, for example, can automatically compare two 3D models by volume.

Sound design is an often overlooked aspect of filmmaking. Beginner filmmakers, as well as podcasters and video game makers, tend to neglect it. But paying close attention to a few specific audio elements can noticeably elevate your storytelling.

We are an artist-led creative studio. We move in crafting intuitive audiovisual design for musicians, films, advertisements and events.

What is sound design?

Sound design is part of the post-production process where the audio elements of a piece of media, like the dialogue, music, and sound effects, are manipulated to enhance a scene’s potency. Used in film, TV, theater, video games, podcasting, radio, and even software development, sound design includes everything from recording to sampling, editing, scoring, and sound mixing. Sound designers do most of their work in post-production, or the editing phase, where they help the project’s director advance their vision.

Sound design emerged with the advent of audio recording technology for film and TV. The term “sound designer” was first used in 1979, when Francis Ford Coppola credited Walter Murch under that title for his work on “Apocalypse Now.” Versus the usual credit at the time, sound editor or supervising sound editor, Coppola felt the new title encompassed Murch’s role in overseeing the film’s broader sound concept and adding to its overall creative intent. Today, most large film projects have dedicated sound designers.

Why is sound design important?

Filmgoers might see audio as something that mostly serves the images on the screen. But for filmmakers, sound is actually the backbone of a film. Here’s why sound design matters:

Poor audio is a dealbreaker. Sound is arguably more important than image. Research has shown that videos with poor visuals (i.e., shaky, out of focus, or under-exposed) but clear audio are usually perceived as more watchable than videos with strong images but poor audio. The sound helps carry the narrative; you’ll usually have an easier time following a story with only audio than you would following a story that’s purely visual.
Sound maintains the illusion. Done right, sound design for film gives an otherwise flat, two-dimensional picture layers of authenticity. Filmmaking is the art of illusion. When making a video, your job is to feed your viewers’ senses, make them believe what you’re telling them, and make them think that what they’re watching is real. Sound, and the manipulation of sound, are crucial to this end.
We hear emotions. Good sound design makes us feel like we’re with the characters on screen. Sound can accentuate their feelings. Horror movies are an obvious example. Think of how suspenseful music and menacing sound effects shape your experience as you watch a character hide in a closet.
Audio is spatial. The visuals are confined to the four corners of the screen. But sound design can create a sense of off-screen space. There might be more happening beyond the edges of the film, and audio gives your audience a greater sense of what’s going on in the larger world, making the environment you’ve built more fully realized. Adding echoes to voices in a scene in a canyon, for example, can inform your viewers of its expanse, even when the camera angle doesn’t.

The essential elements of sound design

Sound design is multifaceted. There are several ways you can design or manipulate audio in your video or film to immerse your audience. Here are the five main elements of sound design, which are often used in combination.

Ambiance. Sometimes referred to as atmosphere, ambiance is the background noise that sets the scene and the foundation of your soundtrack. It helps immerse the audience by telling them where the action takes place. The humming of neon lights can make a dingy kitchen scene feel dingier, just as chirping songbirds suggest a calm spring morning. Ambient sounds should inform and describe without overwhelming and distracting viewers from the focus. An easy way to start is to record a “silent take” (i.e. where no one is talking and nothing is happening) for room tone under the same conditions as the other takes. You can use room tone later to fill in gaps and accentuate certain aspects of the environment.
Foley sounds. You can only capture so much usable sound during the shooting phase. That’s where Foley comes in. Named after Jack Foley, a sound effect designer who worked with Stanley Kubrick, Foley sounds are reproductions of everyday sounds added in post-production to make a scene feel more natural (or exaggerated, depending on the project). A Foley artist, usually working in a studio, uses mics and other objects to make and record real-world sounds. Say a character marches into a kitchen and slaps a newspaper onto a table. To make the scene feel real, a Foley artist might recreate their footsteps, the swish-swish of their jeans, and the thwack of the paper as it hits the surface of the table.
Audio effects. Also known as sound effects or SFX, audio effects are manufactured sounds — sounds that don’t occur naturally and can’t be recorded solely with a microphone. Audio effects are often computer-generated, made by manipulating recorded sounds by applying filters and oscillators, layering all kinds of sounds on top of one another, or using other sound design tools. Audio effects can sound otherworldly, as in one famous example from “Star Wars.” The film’s sound designer Ben Burtt created the famous swooshing lightsaber sound by waving a mic in front of a video projector’s motor hum and combining it with TV interference.
Voiceover. Sometimes called off-camera commentary, voiceover is a post-production recording technique in which an unseen voice, or the voice of a visible subject or character, speaks over the video’s main soundtrack to provide additional context or express unspoken thoughts. It’s a way to convey information about what’s happening on screen without using a caption or a talking head. While voiceover is often read from a script, it can also be improvised or pulled from previous recordings.
Music. Known as scoring, adding music to a video can set the tone, elicit emotions, and raise tension. An elaborate score can do this even without visuals. A score might include songs and instrumental pieces and doesn’t necessarily need to be intricate to be effective. While sound design and music production are closely related, they’re distinct creative processes. Scoring a video can be an excellent opportunity to work with other artists.

What about the mix?

One of the last and most crucial steps of sound design is the mix, in other words, making it all come together. It isn’t enough to simply include ambiance, Foley, effects, voiceover, and music in your video. They need to work in unison. The various audio elements shouldn’t drown out other parts or overpower your storytelling, but instead complement one another. It’s a balancing act.

Sound mixing ensures that all of the levels in the audio are correct relative to other sounds, and that everything comes in at the right time and with the right intensity. This is especially important if you’re going for something realistic — the mix should match what viewers would expect to hear in real life.

Roles and responsibilities of a sound designer

To be a professional sound designer, you need a wide range of creative and technical skills. Of course, you need a good ear, but a strong understanding of acoustics, psychoacoustics, audio distribution systems, and musical structure also helps. These are skills you can pick up through practice or by studying sound design as a specialization.

Sound designers work under the director’s purview. The scope of a sound designer’s role usually depends on the size of the production. On a smaller production, the role may encompass the project’s entire audio component. In contrast, on larger productions, the sound designer usually leads a team of specialists, including audio engineers, Foley artists, dialogue editors, music editors, re-recording mixers, and even composers.

If you’re making a video by yourself, you have to wear all of these hats, which can be a great way to learn the ins and outs of the craft. Here are a sound designer’s (or sound design team’s) primary responsibilities, most, but not all, of which take place during post-production:

Planning. During pre-production, study the script or project outline with the director to determine essential elements, and attend production meetings.
Audio recording and design. Source sounds and create original sounds for the mix, and design each scene’s aural environment.
Mixing and editing. Synchronize sounds with video, add dialogue (including newly designed audio known as automatic dialogue replacement, or ADR), music, and voiceover to the editing timeline, and remove background noises and imperfections.

“Clean, effective communication” can be characterized as follows:

We are an artist-led creative studio. We move in crafting intuitive audiovisual design for musicians, films, advertisements and events.

Clarity: The central characteristic of clear communication is clarity. This means that the message should be clear and understandable, with minimal distractions and redundant information.

Simplicity: During effective communication, the message must be formulated simply and comprehensibly. Simple language, structure and visual elements help recipients to understand quickly and efficiently.

Central message: Clear communication focuses on a central message or goal. This helps avoid information overload and distraction.

Personalization: Effective communication takes into account the target group and the recipients of the message. The message must be formulated in such a way that it is relevant and valuable to the receivers and able to appeal to them.

Creativity: Clean but effective communication can use creative elements to help make the message memorable and engaging. Unique graphics, colors and styles can contribute to the impact of your message.

We are an artist-led creative studio. We move in crafting intuitive audiovisual design for musicians, films, advertisements and events.

Feedback and consequences: Effective communication is not only about creating the message, but also about feedback and consequences. Further refinements can be made based on checking the effectiveness of the message and the responses to it.

Goal orientation: Clear, effective communication focuses above all on our goals and the achievement of our message. The message must be designed and delivered in such a way as to achieve the desired reactions and results.

These elements help define the essence of clean, effective communication, which aims to deliver and receive the message effectively.

Clean, effective communication is the communication process that efficiently and effectively conveys the message to the receiving party. It is characterized by the fact that it is done in a clear, transparent and comprehensible manner, minimizing distractions or unnecessary information.

Such communication is characterized by goal orientation and specificity. It conveys the message accurately and purposefully, emphasizing the essence and avoiding confusing or unnecessary details. This allows the recipient to easily process the information and quickly interpret the message.

Clear, effective communication emphasizes clarity and precise wording. The message should be clear and easy to understand so that there is no room for misunderstanding or misinterpretation. Appropriate language and an understandable communication style help the receiving party to understand the message quickly and accurately.

Additionally, clear, effective communication includes appropriate nonverbal communication, such as body language and facial expressions. These elements help to express emotions, strengthen the message and make the communication more authentic.

Finally, such communication includes effective feedback and empathy. Active attention and a respectful, open attitude allow you to participate in communication and help you understand the needs and feelings of the other party.

Overall, clean, effective communication strives to be simple, efficient and transparent, promoting a smooth flow of information and accurate message delivery to the receiving party.

“Clean, effective communication” describes a style of communication that is carried out as simply and efficiently as possible. During effective communication, the message is conveyed clearly and clearly, minimizing possible misunderstandings and confusion.

Characteristics of clear communication:

Easy to understand: The message is written in clear and understandable words and phrases so that the receiver can easily understand it.

Simplicity: The message does not contain unnecessary information or complicated expressions. Simplicity helps convey the message effectively.

Brevity: The message is to the point and contains only the necessary information so as not to waste time with unnecessary details.

Specificity: The message provides accurate and specific information so that there is no room for misinterpretation or doubt.

Directness: Clear communication is direct and honest, with no convoluted expressions or misleading phrases.

Empathy: Effective communication takes into account the receiver’s interests and feelings, making it easier to reach your goal.

Adapting to the environment: Clear communication adapts to the environment and the characteristics of the target group.

Openness to feedback: Being open to feedback is important for effective communication, as it helps you find out if the message was effective or if it needs to be modified.

The result of clean, effective communication is the establishment of more effective relationships, better cooperation and fewer misunderstandings, which helps to achieve goals and ensures more effective communication at all levels.