AI & Production
An R&D pipeline built in house, trained on our own frames. It gives brands more for the budget and gives our artists more room to create, compressing schedules without ever trading away the hand.
Custom models, our own frames, our own taste. AI here is a department in the building, not a vendor at the door.
The pipeline
What we want from AI is control over the output. So the process borrows proven methods from other media and puts them in order, and our models are trained locally, which keeps the input data ours and secured.
Web-based models used as a research tool, to take unexpected routes and see where they lead. Some of it feeds the work. Most of it is discarded, which is the point of exploring.
Total control of composition, with room to go back and forth. Specific elements can be pinpointed and adjusted on demand, because a human artist is holding them.
Realism and texture added here, at a cost the schedule can carry. This is where the world stops being a reference and starts being a place.
Where a real person appears, their likeness is built from hi-res reference shot for the purpose, not scraped. No photoshoot needed, no identity borrowed.
Final detail settled by hand, blended with traditional retouching, so the image reads as natural rather than generated.
The pipeline
Trained on our own frames, so the output carries the house taste, not the internet’s.
A presenter who cannot be on set, still on air. Built, cleared and directed like talent.
Six Galaxy A spots from one pipeline. Formats and markets without re-production.
Livelo VIVA, made end to end in the pipeline and finished like any film in the building.
The Snowball: a handcrafted paper world at a scale a traditional pipeline could not carry, made on tooling that never leaves this building.
The gallery
