In-engine and offline cinematics from board to final mix: previz, layout, animation, lighting and edit. Produced against the client’s existing art direction, with the same assets powering the shipped build.
Confidential — global AAA publisher2024Unreal Engine 5
Client
Confidential — global AAA publisher
Engine
Unreal Engine 5
Platforms
PC, PlayStation 5, Xbox Series X|S
Year
2024
Duration
7 months
Team size
15 artists
Disciplines
Cinematic layout, Lighting & look development, FX & compositing
Category
Cinematics
Cinematic Trailer Production — cover artwork
Artwork from our archive. High-resolution originals are available on request under NDA.
Production stills
The brief
What the client needed.
Cinematics sit at the end of a production, which means the art direction is already locked, the assets already exist, and the schedule has no room left. The brief was to extend the game’s world into a trailer without inventing a visual language the shipped build could not support.
How we ran it
Began with previz and an animatic, so pacing and shot count were agreed before any expensive work.
Used shipped assets and the existing art direction as the visual base — nothing invented that the game could not support.
Ran layout, animation, lighting and edit as separate review passes, so feedback landed on one layer at a time.
Standardised the render pipeline so in-engine and offline shots cut together without a visible seam.
Delivered the edit with separate stems for music, dialogue and effects, so the client could re-version locally.
Result
A trailer that reads as the same world as the shipped build, because it is made of it.
Layer-by-layer reviews kept revisions confined to a single pass.
Stems and project files handed over, so local re-versions need no new production.
In-engine and offline shots intercut without a noticeable quality break.
