Piotr BuczkowskiFounder and cinematic directorTell me about the game and the date you have to hit. I will come back with the angle I would take, what it costs and whether we can make it in time. Straight answer either way.
A trailer is the most important marketing tool you have at launch. It is where most players meet your game for the first time, and it decides whether they wishlist it, pre-order it, or scroll past. To win that moment the game has to be shown in the right light, at the right level of craft, carried by a story that lands in seconds.
Internal teams live inside their own game for years. That closeness is what makes the game good, and it is exactly what makes the trailer hard: what feels obvious to you is invisible to a player seeing it cold. We come in from the outside and find the angle again, the one thing your game does that nothing else does.
Every project opens with a definition of success we write together: what the trailer has to say, who it has to reach, what it has to move. Wishlists, a reveal beat, a genre repositioned. Everything after that is measured against it, so the master that lands at the end is not a surprise.
We are a boutique studio, working directly with the people making the game, driven by passion and love for storytelling and gaming.
A word from the founderEvery project gets its own team, and I build it by hand for your game. I hire artists who already feel your genre, because a horror and a stylised adventure are not the same craft and cannot be made by the same crew.
That is the guarantee. The trailer sits inside your genre, and its artistic quality answers to what the player will experience once the controller is in their hands.
Piotr Buczkowski, founder and cinematic director
Full CGI, story first. One to three minutes, four to six months out, carrying the world, the characters and the conflict, so a player cares before they know a single mechanic.
The game is early and still in production, so most of what players see we build. This is the first time anyone meets your game: mood over mechanics, six to ten months out, cut for the showcase it premieres at.
More assets, more room: the world, the story, the features, cut against gameplay. One to two minutes on release week, the version that carries the scores and turns attention into pre-orders.
Short, cut for the feed. Fifteen to thirty seconds, one image and one idea, made to be reposted and to keep the wishlist moving between the bigger beats.
Real time in your engine, or pre-rendered cutscenes. The story sequences that live inside the game, built on your own assets, so nothing breaks when the player takes the controls back.
We take these on, run through our partners. Two to four minutes, two to three months out, proving the game is fun: mechanics, systems and UI shown plainly.
We do not keep a standing crew and hand it whatever comes in. Every project is cast: artists who already know the genre, brought in for the film that needs them. That is why a horror and a stylised adventure never leave here made by the same hands.
The roster is the first place we look when a project starts. If you make something we would want on a trailer, put yourself in it. We come back to it before we go anywhere else.
Work back from the date the film has to be public. An announce trailer wants six to ten months, a cinematic four to six, a gameplay trailer two to three, and a launch trailer lands on release week. Talk to us before those windows close and you get a choice of angles instead of the only one that still fits.
Less than you think. On an announce piece the game is usually early and still in production, so most of what players see we build. You bring builds, assets, lore and references, we sort what is usable, flag what is missing and make the rest.
Yes, and it is where we start. You do not need a finished script or a storyboard to talk to us. Bring the game, the world and what the launch has to do, and we come back with concept directions to choose from. Writing the film is the part clients most often say they do not have in house.
Ten steps, and you sign off at every one that matters: concept, animatic, then five previz rounds covering camera, animation, lighting, final shots and sound. The animatic is where changes are cheapest, which is why the whole film is agreed there before a frame is built.
A team built for your game, not whoever is free. Artists are hired around your genre, and the director who shapes the film is on every call from the first brief to delivery.
A core of six covering asset creation, Unreal, animation and production, plus a roster we pull from around the world, deliberately kept to working time zones we share: Europe, Scandinavia, South Africa. Doubling the crew on a running project takes roughly ten days' notice.
However the project needs. We can merge with your team and work on branches and pull requests like any other contributor, on Perforce or git, or come in as a design partner, take the creative lead and sit in on client meetings. Engagements of this kind usually run three months and up.
Yes. In-game cinematics are built in real time in your own engine on your own assets, or pre-rendered as cutscenes if that suits the game better.
We run the latest, currently 5.7. Your game does not have to. If your project is locked to an older engine, and plenty are late in production, we take the assets and build the film in a current version, so an engine upgrade is never a condition of working with us.
We run our own mocap for indie and AA work, face, hands and body, and bring in partner stages with OptiTrack for AAA. Characters are built on MetaHumans, effects in Houdini, and everything is rendered in Unreal. The performance comes from actors, not from a library, and we cast them the same way we cast artists.
Whichever way is faster for you. We can capture gameplay ourselves or brief your team on exactly what we need shot, since you know the game best. Direction, edit, animation, colour and motion graphics sit with us. Music and sound design we either bring or work with your composer, whoever already knows the world.
We take them on and run them through partners we coordinate directly, so the story stays whole from reveal to release rather than splitting across two suppliers.
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