A stylised 2D illustration of a man in a suit, chin on hand, a teal cityscape blurred behind him

Motion design, 2D & 3D animation

A motion design studio inside a Paris film crew: 2D and 3D animation, illustration and rendering, and VFX and post-production on series and features. The crew that shoots is the crew that animates.

Films for products & brands

We make animated films for products and brands: explainer videos that make a technical product legible, and corporate animation films. The work runs from script and storyboard through styleframes to the final master, delivered at the lengths and formats each channel asks for. Most of it is for tech start-ups and companies, and the reel on this page is the argument — WeatherXM, Lokly, Geolinks, Teritori, Watch X. We would rather you watch two of those films than read a longer paragraph about them.

Illustration, 3D & rendering

Everything is drawn and modelled in-house, and the frames on this page are working material, not decoration: a 2D character against a stylised city, an isometric scene, phone mockups of the Teritori messenger, and a 3D render of the Lokly key. When the product is a physical object we model it and render it, so the film gets angles and cutaways no camera would; when it is software, we animate the interface screen by screen. Illustration and rendering are also deliverables in their own right — styleframes, key visuals, product renders.

VFX & post-production

The same team does VFX and post-production on series and feature films: holograms, on-screen interfaces, and the effects a scene needs after the shoot. It is the least visible work on this page, deliberately — a screen insert or a hologram is done well when the audience reads it as part of the scene, never as a graphic. And because the motion designers sit inside a film crew, they think in shots: what they add has to survive the grade, the cut and the projector, not just a preview window.

Screens built for the set

When a script calls for an app — a phone an actor answers, a dashboard a character breaks into — the usual on-set answer is a green rectangle and a long night in compositing. Ours is InterHacktive Cine: because the studio that animates is also an engineering studio, we design the interface and build it as a real, interactive application. The actor plays against a screen that responds, the director frames it live, and the art department stops dressing around a placeholder. Developers and motion designers, one company — it makes the shooting day simpler and the frame honest.