Compositors
Keying, cleanup, paint-out, screen comps. If your work is invisible, we want to see it.
For decades the deal was simple: if you wanted to work in visual effects, you moved to London. We're building the studio that breaks that deal — from Bangor, North Wales.
We're at the start of this — a supervisor-led studio with a real-time pipeline and three crafts we're determined to do properly. We don't run a wall of open vacancies. What we run is an open door: when a project needs more hands, we call the people who've already pitched us. Be one of them.
Keying, cleanup, paint-out, screen comps. If your work is invisible, we want to see it.
Environments, lighting, virtual camera. Game or film background — real-time is real-time.
Screen graphics, titles, fictional interfaces that read in a second and survive a 4K close-up.
Students and career-changers welcome — Wales trains great artists and then exports them; we'd rather grow them here. No VFX credits yet? Show us anything that proves your eye.
Most juniors pick a lane: on-set or in-suite. Here you'll do shoot days on a working virtual production stage and finish the same shots in post — the fastest education in the pipeline there is.
Unreal Engine and Assimilate Live FX all day. You see your work move in front of you — and in front of the client — instead of babysitting a farm overnight.
You work directly with the supervisor, not six layers below one. Your name goes in the credits block on the case study — we publish who did the work.
Mountains on the doorstep, Aria Studios up the road, a cost of living Soho can't offer. Cymraeg yn y stiwdio — working in Welsh is welcome here, not a novelty.
One email. A reel or portfolio link, three sentences on what you're best at, and where you're based. That's the whole process.
We reply to every pitch — usually within a week. No cover letters, no application portals, no ghosting.