Approve the blocking, not the render
The most expensive note in animation is a performance note given after lighting. Here is why we lock acting at stepped keys, and what that costs you if we do not.
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Notes from inside the pipeline.
Craft and production writing about how animation actually gets made — what we approve when, what things cost, and the decisions that are cheap now and expensive later. No thought leadership.
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Texel density is a design decision, not a technical one
Deciding how many pixels per centimetre your world gets is an art-direction call disguised as a spreadsheet. Get it wrong and no amount of texturing skill will save the look.
ReadThe animatic is the cheapest edit you will ever make
Every problem an animatic exposes costs a morning. The same problem found in animation costs a fortnight. Yet it is the stage clients most often ask to skip.
ReadWhat VFX needs from your shoot — the one-page list
Five minutes on set saves five days in post. A practical list of what to capture, why each item matters, and what it costs us when you cannot get it.
ReadRigged or frame-by-frame: how to decide in ten minutes
The 2D technique question is really a question about volume and revision. A short decision guide, and the honest trade you make either way.
ReadWe quote in shots, not days
A day rate tells you what we cost. A shot count tells you what the project costs, and what happens to the number when the brief changes. Only one of those is useful.
ReadReal-time is not a shortcut
Unreal removes the render queue. It does not remove the work — it moves it earlier, into decisions you used to be able to defer. That trade is often worth making, but only if you know you are making it.
ReadStart a project
Reading is cheaper than a bad brief.
If something here matched a problem you are having, that conversation is free. Send the brief and the deadline and we will tell you what we would actually do.