In today's information society, attention is a commodity difficult to come by: it is selective and transient. This is why so many events, trade shows and fairs are trying to attract, capture and hold attention by using sensational tactics and communicating relevant messages in a catchy fashion.

Moving images are capable of creating memorable messages that are both informative and emotionally appealing - even hard facts and dry numbers come to life when presented in this format.

  		 
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For your trailers, commercials and events we weave your messages into a continuous story and create a rousing, multimedia-based visual experience that is sure to be remembered for a long time to come.

We appeal to the senses by using astonishing effects and diverse stimuli, which serves to hold the attention of the audience longer. This is why we focus on innovative solutions far from the ordinary — we are currently focusing on kinetic stage designs: Moving LED walls, which slide and “dance” to music, interacting in ever-changing scenarios with digital content. Using state-of-the-art projection techniques (e.g., projection on the inside of a sphere or a setting with 360 degrees of freedom) we seek to produce “Wow” effects.

We believe that motion graphics and CG are closely linked together. With a three-dimensional tool set and our digital artist, who originate from the classic 3D-area, we are creating new and interdisciplinary links of all multimedia-based components.
  		 
In doing so we obtain the most effective and creative solutions.
We are using game engines for live presentations at events to an increasing extent; by texturizing two-dimensional graphical elements onto three-dimensional objects that move dynamically in space, truly amazing motion-graphic animations are born.

It is our belief that the optimum creative solution should always take precedence over mere technical effects. Before the implementation of your project, we are more than happy to confer with you about how to achieve the best effect using an optimal quantity of resources. This could mean, for example, deciding which scenes could be more effectively storyboarded using a matte painting, animating them later in compositing rather than modelling them in 3D.

Here are a few examples of our recent work and the multitude of possibilities we offer.



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