Real footage: Koral's G.O.A.T. ad, with the set filmed live on our LED volume
The creative studio ยท commercials, film, animation
Hand us the script and get back the finished film.
For brand teams and producers. Commercials, film and animation from one crew in Warsaw. We worked on Kulej, winner of the Audience Award at Orลy 2025. Scroll through how three were made.
Artur Paprocki reads your pages himself. After a short call you get a written scope with a price range.
How G.O.A.T. was made
Koral wanted a whole ice-cream world.
We changed the set between takes, on the LED wall.
Read the Koral case study →Real footageKoral's G.O.A.T. spot, built and shot in camera on the LED volume.
How Kulej was made
Tokyo, 1964.
The Olympic venue, rebuilt in Unreal Engine.
Filmed in Warsaw, not on location.
No location shoot. The set resets between takes.
Read the Kulej case study →Real footageFrom Kulej. Dwie strony medalu (Watchout Studio, made with ATM Virtual), shot in camera on our LED volume.
How NEXA is made
Real actors, in real light.
The world is generated around their performance.
Their faces are real, not generated.
See the NEXA series →Real + AI-generatedNEXA, our own series: real actors on the grey LED wall. The wardrobe and the worlds are AI-generated.
Case studies
Our work
Four films, each with a page on how it was made.
G.O.A.T.
An ice-cream ad, built and filmed on the LED volume.
Kulej. Dwie strony medalu
A feature film, winner of the Audience Award at Orลy 2025. The Tokyo 1964 and Mexico 1968 Olympic venues, rebuilt in Unreal Engine and filmed on our LED volume.
The Castaways
A virtual Tokyo built in Unreal Engine and projected on the LED wall.
Kampinos Forest, Our Treasure
A 12-minute film, made in three months by a crew of six. The character Julek is generated; the forest footage is real.
Decathlon Poland ยท 2026
An anniversary film, produced end to end.
A paper-craft CGI world with a live presenter inside it, made for Decathlon Poland's anniversary.
How it works
How we make a film
Send the script, agree the scope.
Send the pages or the storyboard and your dates. Artur tells you if the LED wall is the right choice. If your film needs only one real place nearby, it usually isn't.
Build the set.
We build the backgrounds in Unreal, or make them from your own footage. We light them to match the set and test them with your lenses.
Shoot and finish.
The director sees the final image on the monitor, and the client approves it on set. If we make the whole film, we then do the colour grade and the edit.
Also from the studio
Two more things we make.
Interactive web
Pages that explain a product by showing it, scroll by scroll.
See one: the Synapse Stage page →
Questions about period films, costs and crews
Can you shoot a period film on an LED wall?
Yes. For "Kulej. Dwie strony medalu" (Watchout Studio, made with ATM Virtual), the Tokyo 1964 and Mexico 1968 Olympic venues were rebuilt in Unreal Engine. They were then filmed on our LED volume.
Is an LED wall cheaper than green screen for a commercial?
Per day, no. Per finished ad it can be. There's no green-screen clean-up afterwards, and the client approves on set. Koral's "G.O.A.T." was shot this way. If you need just one real place nearby, filming there is cheaper, and Artur will tell you so.
Can we bring our own DoP and camera?
Yes. Send your camera and lens list with the brief. Before the first shoot day, we test your kit on the stage.
Do you only do the wall, or the whole film?
Either. We shoot on the wall for your production, or produce a corporate or anniversary film end to end, from concept to delivery.
Send the script pages.
Artur reads every brief. Within two working days he answers with his questions and a time for a call. He tells you if the LED wall suits your script. After the call you get a written scope with a price range.
