Everything we’ve made.

A pole-topper programme for Jim Beam's Chiefs partnership, staged and lit through twelve build passes.

A Topps trading-card activation for D23, built as a Victorian reading room dressed entirely in Disney and Pixar card art.

A Disney+ activation built out of 2000s Disney Channel poster art, developed at three different footprints at once.

A monumental Trojan horse for Universal's The Odyssey — four separate builds, one of which got made and put on a street.

A Topps × Marvel booth for Comic-Con built as a New York street and shot like a location rather than a stand.

An influencer mailer for Toy Story 5, taken through five render revisions with lettered treatment variants at every stage.

A walk-in Simpsons living room for D23 — two competing concepts, three layouts, then seven revisions of refinement.

An influencer mailer box for World Princess Week, designed as an unboxing rather than as a package.

Hulu's Animayhem footprint at Comic-Con, carried through twenty-four render revisions and seventeen named cameras.

A 32-foot open-top double-decker dressed as a campaign — concepted, graphic-wrapped and rendered in a single round.

Four build zones for a Moana activation, each rendered straight over a photographed plate of the real venue.

One activation explored as four vehicles — tour bus, Airstream, shipping container and glass trailer — then narrowed to one.

A Mandalorian install taken from concept to a sited Century City placement across six revisions.

A medieval game booth for IGN Live 2026, built from a set-dressing library of palisade, bell and faction heraldry.

Oversized inflatable characters modelled, rigged and comped onto photography of the Universal buildings they'd hang from.

A single 2D motion piece built on a client-supplied lily pad UI kit.

Sixteen revisions of an outdoor activation, resolved into eight cameras and a red-wall alternate.

A record-player billboard for Lionsgate's Michael, comped into real LA media sites as matched day/night pairs.

A snake-and-bird sculpture in three cities, each carrying two carved sign lines out of the film.

A hotel takeover and a separate launch space, carried together through three revisions.

Three set pieces — Sunroom, Tree and Porch — developed as separate builds for a Bluey activation at D23.

A dugout activation built twice — Miami and Houston — with side variants for the design, the dark state and the roof.

Two strands for one brand: a peach truck and balloon install, then a spring flavour-release animation.

A shark-ride activation for Pixar's Hoppers, built through five revisions in a single January.

Three revisions of a layout design, each delivered as a matched set of seven views.

A Luma display for SXSW, rendered in four states off one build and exported for real-time.

A rock monument that burns down over 250 frames and resolves into a title treatment.

A town-square build through two layouts and eighteen revisions, with a print graphics package to match.

A casino-styled event space built over fourteen passes, feature by feature.

Eight Zootopia vehicles modelled and rendered twice over — bare, then with the cast posed in them.

A WrestleMania 41 activation — the Innovation Lab booth, its card wall, and the video wall and floor content that played inside it.

An architectural visualisation of CMOM's new building — a fly-through of the finished space, and a second film that assembles it.