Questions we get asked.

A visual production and VFX studio in Bilbao. We make shots for advertising, product, film and series: effects, compositing, digital sets and packshots, including shots that can’t be filmed.

Generative tools sit inside the pipeline, chained with standard post-production software. The team comes from film production and post.

The studio is new. The team has years in production, technical supervision and post, and much of that work is under NDA.

Write to us and we will send what the rights holders have cleared for portfolio use.

A prompt doesn’t survive a client review. Every piece goes through visual direction, iteration, compositing and finishing, with the same review cycles as any shot in post.

What has changed is how fast we can explore: you see several directions before committing budget, and what you get at delivery has been finished shot by shot.

The tools take on work where they save hours. Decisions stay with people.

Development

concept variations, visual exploration, shot feasibility before the shoot.

Pre-production

environment and product design, storyboards, look tests.

Production

element generation and set extension. Framing and intent are decided by a supervisor.

Post

segmentation, matting, tracking, compositing, retouching and finishing.

We don’t build our own models. We use the available ones and chain them in a pipeline with version control and review, so every version can be traced and compared. Models change every few months, so the pipeline is built to swap them without changing how we review and deliver.

Seven areas, each doing a different job:

Image and video generation

diffusion models for environments, textures, concept variations and shot elements.

Segmentation and matting

figure extraction. It speeds up roto; hair and transparency still need an artist.

Tracking and depth

matchmove and depth estimation, so added elements sit in the perspective of the shot.

Quality control

adversarial networks that check each shot for inconsistencies before a person reviews it.

Restoration and upscaling

4K upscaling and clean-up. It rebuilds plausible detail and has to be watched so it doesn’t invent it.

Frame interpolation

retiming and slow motion. It works on clean movement and fails on occlusions.

Scene reconstruction

photogrammetry, NeRF and Gaussian splatting, to scan a set or a product and move the camera inside it.

The headline use, generating a whole shot, saves less than it seems. Most of the saving comes from the middle areas, which absorb the hours nobody sees in VFX work. Those hours go back into the shot: more iterations, and alternatives that used to fall outside the schedule.

No. On some projects they only appear in exploration, and the final shot is filmed and composited by hand. Others are generated end to end. Most mix both.

It depends on what the piece needs. If generation adds nothing to your job, we will say so: we are paid to solve a shot.

There is plenty of fast, cheap, forgettable generated imagery around. The studio exists to make the opposite.

Every piece gets human review, manual correction and post-production delivery standards: mattes that hold up when you push in, consistent light across shots, continuity, and the exact format each channel asks for.

Every production still needs direction, supervision, compositing, editing and judgement, and people do that.

The split of work is changing. Some repetitive execution is shrinking, and projects that used to be ruled out on cost are becoming viable. We work on the second front, and we train our clients’ teams to adopt these tools without losing their craft.

Start with what we don’t control: the training data of commercial models. We don’t know it precisely, and we won’t pretend to.

What we do control: we start from original material (your brief, script, product, filmed plates and our own art) and we don’t bring third-party work into the process without the rights holder’s permission. We choose tools according to the risk your brand accepts. Some offer commercial indemnity on outputs, with limits and exclusions we go through with you before using them. If your legal team rules out a tool, we work without it.

It depends on the tool, which is why it is agreed at the start of the project. When a shot goes through an external platform we tell you which one and under which plan. With some providers, professional plans exclude your material from training; we check provider by provider and work on that condition.

If your project requires that nothing leaves our infrastructure, we can work that way, using only tools that run in-house. Any change to the budget is agreed in writing.

The assignment of rights to the final piece and the deliverables is settled in the contract before work starts, together with any intermediate material you want access to: plates, layers, project files.

Two points are worth knowing, and that is why they belong in the contract rather than in a line on a website. What we can assign also depends on the licences of the tools used, so each tool is listed. And copyright protection for model-generated material is not settled the same way in every jurisdiction.

It depends on the piece, the market and your sector, and EU transparency rules are being phased in.

What we do: we label generated material and document what was filmed, what was built and what came from a model. That record is delivered with the piece, so your legal team can decide with the facts in front of them. What you tell the audience is for you and your advisers to decide.

Production talent is here and operating costs are reasonable. Bizkaia is also a foral territory: it runs its own tax system, with incentives for audiovisual production that differ from those in most of Spain. For an international production that can change the budget.

Rates and requirements are reviewed every tax year, so we don’t publish them as a promise. We explain how the regime works, and you confirm it with your tax adviser before counting on it.

It depends on the shot. A piece that would mean filming in several countries can sometimes be solved without leaving the studio. A shot that films well in two hours will still be cheaper to film, and we will tell you so.

We quote what it costs to solve the piece, with whichever tools each part needs.

No. There are regular review meetings, the process is visible from start to finish, and a person answers your emails.

We work as comfortably with teams that have never produced with these tools as with teams that want to discuss pipeline, versioning and usage policy in detail.

Send us what you have: a script, a brief, a reference, or the impossible shot you have in mind. We tell you whether it is feasible, how we would approach it and what it costs.

If we are not the right studio for the job, we tell you that too.