An explainer that finally makes the product make sense. A campaign that has to carry a season. A film your CEO will stand behind. One brief, one scope, one price — the way this studio has worked since 2005.
Swarmalytics — the brand film. It started as one explainer.
Anyone can show you twenty videos. What tells you whether a studio is any good is the decision behind one of them — so here are three, with the thinking left in.
Doug Newell needed to show online business owners what his app actually did. Analytics software is abstract: the product is a pattern nobody can see.
An explainer that made the invisible visible. Then, as that project closed, a second conversation — this time about the brand itself, and what the technology could do.
Doug and his team chose our top tier for that second film, and the reason is the part worth paying attention to: they had already seen how we work. The first project is how you find out whether a studio listens. The second is what happens when it did.
Open Blender — a harder version of the same problem: a complex sector, an audience that already knows it, and a story that still had to land in seconds.
A long-form spot following a couple as they age and grow together — a single story, one product line, one film.
In the edit, that the story divided cleanly. The same shoot could carry five mini-spots, each one built around a single product, without reshooting a frame.
We proposed it, which meant proposing more content for less money. We do this often enough that it is worth saying plainly: a studio that only sells you what you asked for is not thinking about your campaign, it is thinking about its invoice.
Something minimal, and something that did not feel like motion graphics — which is what a twenty-second piece usually becomes when the budget is the constraint.
Every frame of movement illustrated by hand. Not tweened, not animated on curves — drawn. The result moves organically, the way only hand-drawn work does.
The whole piece runs on one accent colour: a few splotches of red. Knowing what to leave out is the part you cannot brief. It is also the part that makes a twenty-second animation cost more than a sixty-second one — and it is why it still looks right years later.
No service that sends work to a pool of freelancers can show you this page, because the people change every month. Ours do not.
Our studio is in Monterrey, Mexico — a real address with a crew who come to it, running on US Central hours. Twenty years of it, first as Pasumecha, producing for brands across Mexico and the United States.
Fifteen to thirty minutes. What it is for, who it talks to, when you need it, and what you already have. If we are the wrong studio for it, this is where we say so.
Scope, deliverables, dates and a fixed price — on one page you can forward to whoever signs. Nothing starts until you approve it, and 50% comes due then.
You review in Frame.io, commenting on the frame. Revision rounds are unlimited. The remaining 50% is due on delivery, not before.
Two minutes now, and the call we have will be about your work instead of about forms.