Every film we make starts as design: the characters, the places, the poster. We do that same work for brands and productions that need images, lots of them, that look like they belong together.
Key art and posters. The image that sells the show before anyone presses play. Posters, thumbnails, one-sheets and the title treatment, made in the look of the film because they come from the same world we built for it.
Character design. Characters you can put in a hundred shots without them changing faces. We design them as full reference sheets, front, side, expressions and wardrobe, and you sign off before they act in anything.
Locations and sets. Places that hold together from every angle. Some we generate, some we build as simple 3D sets in Blender so the camera can move through them and the light stays consistent.
Storyboards and keyframes. Every important shot as a still before it becomes video. It's the easiest moment in a production to change your mind, and the best way to get everyone agreeing on the same picture.
Brand and campaign visuals. Social images, event graphics, presentation art and product scenes that match a brand's look, at the volume a campaign actually needs.
Merch. Shirts and printed pieces made from the same characters and lines as the work. We designed our own Punk Slop shirts this way.
Anyone can get one great image out of an AI tool. The hard part is the second image, and the fortieth, looking like they came from the same place. That's a production problem, and it's the one we solve every week making series with recurring characters.
So we design the way a film's art department does. Characters and locations get signed off first. Sets get built when the camera needs to move. Then everything else is made from those decisions, and a person checks every frame.
01 The brief. What it's for, who it's for and what it has to feel like. We ask for references, including the things you hate.
02 Directions. A handful of distinct directions, not fifty near-copies. You pick one, or point at the parts you like in three of them.
03 Sign-off. Characters, places and the overall look get approved before anything goes into production. Changing a design after it's in forty shots is where budgets go to die.
04 Production. We make the finals, with as many passes as it takes. A person checks every image, fixes hands and type, and throws out anything that isn't right.
05 Delivery. Files sized for where they're going, plus the reference sheets so anyone can keep making things that match.
We only use a real person's likeness with their written permission. How we handle likeness and consent.
Our free paint program. Draw something terrible, press one button, and AI turns it into a finished image. It's the whole idea of AI design in about fifteen seconds: you decide what goes where, and the machine renders it.
It's visual design made with AI image tools, directed by people. The designer decides the idea, the composition and what's good. The AI does a lot of the rendering, which means more options, faster, in styles that used to need a photo shoot or a team of illustrators.
It's replacing some of the work, not the judgment. Someone still has to know what the image is for, what good looks like and when to throw a result away. The people who do that well are getting more done than ever.
Whatever fits the job. Midjourney, Nano Banana, GPT Image, FLUX, Seedream, Luma, Higgsfield, OpenArt and Flora for images, Blender for sets, and Magnific for upscaling. We're a Dreamina Creative Partner and a HeyGen Ambassador, and we use plenty of tools we have no relationship with.
Yes. That's most of the job. We build reference sheets first and generate from them, then fix anything that drifts by hand. It's the same process we use to keep actors consistent across a whole series.
You own what we deliver to you under our contract. Be aware that in the U.S., purely AI-generated images can be hard to copyright on their own, while work with real human authorship, like selection, arrangement and editing, has a stronger claim. Ask your lawyer about anything you plan to trademark. This isn't legal advice.
We only use a real person's likeness with their written permission. We don't prompt for a living artist's style, and we don't copy other companies' characters or logos.
Austin, Texas. We work with clients anywhere.
Tell us what they're for. We're in Austin and we work with clients anywhere.
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