See the whole campaign HERE! Let us know what you think on FACEBOOK and TWITTER! Check out Sharpe & Associates for more of ADAM LEVEY’S beautiful photography.

The star of the show, ahem- The Egg- landed the leading role due to its tough outer shell and soft insides, which is used in the commercial to demonstrate a tooth. The point of which, is that different surfaces of your teeth need to be cleaned in different ways. Which the unique technology of the Pro Clinical A1500 can do with sensors which put the brush into auto-pilot! Adjusting automatically in both speed and action as you move the brush around your mouth.

We were thrilled to be involved in such a creative and unique brief and after the pre-production which included gathering creatively accurate references, story-boarding and collating mood boards, we headed over to our neighbours at Shoreditch Studios to shoot the humble egg on green screen. With our lovely hand model and a lot of eggs we captured the film of a hand reaching to remove the top of the eggs shell to revealing the white inside. We integrated this live-action with expert photo-real CGI for the toothbrush and the environment back in the London studio, to reveal this 30 second TVC.

For the full campaign see our project page here, which includes an exclusive interactive video we created from the digital assets, so you can view the toothbrush at your own leisure. And check out our BEHIND THE SCENES for the making of!

Also see the final TV spot action on the Colgate website commercial, on Facebook web banners and on primetime TV throughout the UK & USA.

The multiple assets in this Urban Angel series can run across print, from magazine to billboard, interactive and digital.
Cinemagraphs are rising in popularity as a way of adding elements of repeated motion to a ‘photograph’, allowing the viewer to become immersed in a moment in time, whilst maintaining manageable file sizes necessitated by many digital advertising platforms. This method can bring subtle life to imagery and be a cornerstone of truly integrated marketing.

The Royal British Legion has launched the 2012 Poppy Appeal with an innovative outdoor campaign to raise awareness for Remembrance Day on November 11th. The billboard and poster images, featuring everyday scenes from our working lives such as the tube and suits, are featured in tube and railway stations around the capital, with the tagline ‘Something Missing?’.

The Royal British Legion is the UK’s leading Armed Forces charity, providing emotional and financial support to former and current members of the armed forces and their families. One of the main events that they run is the Poppy Appeal, the poppy being the symbol of Remembrance Sunday, representing those who have lost their lives in honour of their country. In the running up to Remembrance Sunday, lapel poppies are adorned by many of the public, with the image of the poppy strongly linked with the charity itself.

Each image features a cut out of a poppy revealing several different backdrops behind the poster, such as the cables along the underground. Working with agency CST The Gate, we created the three ads to remind people to pick up their poppies for the good cause. Our in-house photographer shot the material needed around London, and the rest was created in CGI and brought together seamlessly in post.

Upload your snap to Facebook if you spot the campaign on your travels around the capital, and tag TaylorJamesLtd.

The photography and CGI-integrated campaign, consisting of three double page spreads, shows Statoil’s principle procedures of extraction in land and sea. The photorealistic juxtaposition of the complex on-site machinery and environment with calm and clean workspaces was a vital requirement for the client, and is a niche skill we renowned for.

Agency, McCann Oslo, approached Andy Glass and TJ to match their flawless techniques on this production for their trusted client Statoil. Impossible to create in the real world, CGI was used to create the models of the environments within tanks, combined with Glass’ photography of the sea surface, oilrig and overhead shots of the energy sites. The ground and sea blocks accurately represent the geographic layers of Statoil’s real life extraction sites. This complex composition was then brought together by our skilled retouchers, paying attention to the finest details and required integration.

Eric, Global Executive Director at McCann Oslo, states “It has been an absolute pleasure working with Taylor James, and the work is world class!”.

See the Statoil project page to see the complete campaign and a full insight behind the scenes of the production!

The kangaroo was created using Zbrush, a digital sculpting tool that combines 3D/2.5D for modeling, texturing and painting. An eye for realism, creativity and focus are essential skills when using this tool, to make sure the delicate anatomical forms such as muscle tissue, facial and paw detail were meticulously sculpted in.

Senior CGI Artist, Roy Stein, explains; “Initially the model is sculpted into a generic standing pose, layering in Zbrush is then used to find strong dynamic posing for the final image, whilst maintaining the original “T” pose underneath for the next phases of unwrapping, texturing and grooming of fur. Texture was painted directly onto the model, and drove the various colour patterns of the coat, which was created using HairFarm.”

The biggest test was making sure the final look was as natural as a wild kangaroo’s fur would look in real life. Roy adds “The fur texture was groomed using more than 20 bespoke texture maps to create the challenging look of realistic fur, with each texture applying a specific attribute, such as curliness and thickness, to specific areas of the animal”.

We’re very happy with the final result, and are proud to say the client were over the moon!

We were approached by LBi to produce this huge composition for Sony, to form part of an interactive website for the launch of their new ‘Xperia Ion’. A team from our London and NYC studios went over to do the shoot alonside the filming of the TV commercial at Fox Studios in LA.

The brief was to produce a huge street scenes and populate it with hints from popular movies, music and video games. These hints form part of an interactive hide and seek game for users of the Sony website. This was a complete Taylor James production, combining photography both shot on-location and in our studio, with CGI and model-making. Complex creative retouch was necessary to build this multi-part comp to the scale and flexibility required to zoom into the image at high levels of detail.

With just 3 weeks from kick-off to delivery, we pulled out all the stops to launch in time for the release of ‘The Amazing Spider Man’ movie in cinemas!

For Behind the Scenes footage, out-takes and the large interactive image, see here. And see our Facebook page for even more pictures on-set!

Computer generated imagery and photography are at a juxtaposition. While photographers clean up their images, making them look more like renderings, 3D artists are adding blemishes, dirt, scratches and developing tools like subsurface scattering to make their renderings look more like snapshots. Photographers are fighting to remove noise, CGI artists are adding it; photographers are using digital techniques like focus stacking to extend depth of field, while CGI artists begin with unlimited depth of field and artificially reduce it.

Spielberg recently mused that “audiences are so used to digital enhancements or replacements that they don’t trust cinema anymore. They see a movie and… if something beautiful strikes them emotionally, or in a beautiful way, they say ‘That was faked’ or ‘They did that later on the computer’.” He defended his latest epic film, War Horse, saying “we had three days of amazing sunsets, and we actually took advantage of those. There is no sky replacement.”

For our project for SIMPONI, a mixture of techniques were used, including filming objects in our studio for the 2:30m teaser and replicating these objects in CGI for cross-platform deliverables. This afforded the client and agency the control and flexibility they were after. With the full compliment of technical and creative skills, plus live-action and photography studio, in-house, TJ was able to seamlessly blend approaches for a cohesive integrated campaign where the technique is secondary.

What do you think, can you tell which elements are CGI and which are real? Share your comments on Facebook or Twitter

And if you want to see the flying man… CGI Experts on Flying Bird Man

Check out the feature for the making of Pegasus in 3D World here, and CG Arena have broken down what we did and how we did it alongside the step by step images too - see here! Plus an insider interview!

We are also very proud to see that Dow got ‘Ad of the Day’ last week in AdWeek following the ‘Solutionism’ campaign ad’s. The main focus being the new environmentally friendly ‘quiet’ train alongside the various beautiful images we created for the global solutions company. Read the feature here!

See our projects here:
Pegasus and Dow

Thanks guys!

Note to Editors: If you are keen to find out more about any of our projects for any features or advertising, please contact Laura Frost at [email protected]

We were approached to create the stunning design of a powerful, fantastical horse to look as though it was made out of thousands of phones, for the huge launch of the new generation of smartphone by Huawei. Another piece of design imagery we are quite proud to be a part of, following the recent success of the beautiful CGI design work designed for the Sunday Times anniversary cover!

The symbolic winged horse is famed for representing speed and freedom which is why Huawei chose it as the central theme for the launch of the new phone ‘Ascend’, the “world’s fastest phone”. Each phone was built entirely in CGI (computer generated imagery), astonishing consumers and figures in advertising agencies all over the world as they observed the photo-realistic images at the Mobile World Congress last week.

So how did we do it?

The Huawei Ascend project came into us as a quick turn-around job and there wasn’t much time to nail the concept and visualise this stunning design. Luckily for us the client had a clear direction for the pose and camera position of the Pegasus, so we were able to match it quite quickly and get on with designing the intricate process of placing phones across the body and wings of the Pegasus.

We had to model the phone from a physical model as we had no CAD data, so we scanned it for accuracy then expertly modelled it to make it smooth, accurate and optimised enough that rendering 2000+ of them wouldn’t be an issue. We modelled details including the camera inners with lens and USB port as these are the small details which if modelled help pick up subtle lighting differences and detail that doing by texture wouldn’t give.
We’ve done a lot of jobs where something large is made up of many small items, so we have procedures and processes designed to help speed this up.

Dave Wortley, Lead Technical CGI Artist at Taylor James, says “The placement was extremely important, to help emphasize the shape and form of the body, and design a complex wing structure which felt light yet solid. A combination of in-house tools as well as manual placing and adjustment was used to ensure there were no phones overlapping or interpenetrating which turned into quite a bit of a jigsaw puzzle!”

Once the Phone had been modelled and positions specified, we swapped out the proxy low-res phone models, switched to our high resolution 20,000 poly version, which with over 2000 phones making up the structure of the Pegasus, meant we had over 40 million polygons in the scene, which as we were rendering at a large 8k resolution, meant we could see lots of detail close-up.

The next challenge was lighting, trying to get a smooth rim-lit look with such a facetted shape we encountered issues straight away with the falloff from lights not being smooth across the model because of the angular nature of the geometry. We created a complex light rig involving curved lights to light small parts of the Pegasus with different lights and then at the rendering stage we rendered multiple versions of lighting setups which allowed our Retouchers to paint in extra lighting and reflection where they felt it was necessary to get a nice result.

Why CGI?

Its projects like this which would be almost impossible without CGI, the lighting was so complex that there is no way it could have been done in a studio with Photography. Taylor James ensure they invest time heavily at the start of projects like this, modelling accurately and preparing it for good detail levels so we can re-use the original phone asset and render an individual phone at high resolution for further product shots.

This is highly valuable as advertising campaigns are more and more integrated across digital, print and motion platforms. See the project page for more images!

“Access-Success-Growth” is the phrase at the heart of FedEx’s brand and these concepts are reflected in each image, associated with strap-lines “Connect to over 90% of the world’s GDP within two days” and “How do you deliver 8.5 million shipments a day? Teamwork.” The overarching concept set by BBDO was developed in line with the CGI and retouch expertise and precision in our studio. Ed Taylor, Taylor James Creative Director, said “CGI offers unlimited creative possibilities, there is no inherent style born out of the discipline. The most important thing is creating an aesthetic that most effectively solves our client’s brief.”

We went through an extensive concepting phase for this campaign, to create a strong graphic and striking identity of the brand’s key messages utilising computer generated imaging techniques. The four final artworks are beautifully detailed and sleek, aptly depicting the key messages of ‘connectivity’ and ‘teamwork’.
“This new advertising campaign extends the strong legacy of the FedEx brand globally by reinforcing our commitment to delivering an outstanding customer experience consistently around the world.” said Rajesh Subramaniam, senior vice president of International Marketing, FedEx Services.

The print adverts are currently live in countries such as Brazil, India, Canada, China, Japan, Germany, Korea, Mexico, Singapore, Taiwan and the UK. Each advert points you to the microsite: http://connect.fedex.com/gb/en/ which takes you behind the scenes and demonstrates ways FedEx helps customers’ access opportunities in the marketplace, locally and around the globe.

See the images on Bestadsontv.com here!

Check out our Project Pages for more images and info on the project..

The anniversary issue of the magazine was in the paper and online on Sunday 5 February (who bought it??) and featured breathtaking imagery including the 50 greatest front covers over the 50 years. The image is currently being exhibited at the Saatchi Gallery, London, at an exhibition showcasing the best covers and photography included in the magazine over the past half a century. The image in question features a 3D simple yet eye-catching ’50′ incorporating 100+ front covers published since its launch in 1962. (See our Twitter and Facebook for inside pics of our very own designer Dave Wortley at the launch event at the gallery!)

After concepting several designs within a CGI environment, the final image chosen by the Art Director at Sunday Times, Alyson Waller, is a bold and modern looking design exhibiting every one of the front covers hanging from subtle strings to form a 3D number 50, in a glossy gallery-style environment. Dave Wortley, Lead 3D Technical Artist, explains “the challenge with this project was to create a sense of scale and power. We wanted to make sure it would look like an installation in a large gallery and not a scaled model. Each magazine is unique in shape and form and there are over 100 covers from 50 years of the Sunday Times Magazine running, so we used a bit of scripting to avoid repeats on the front row and make the rest appear random.

“It was a challenge to complete this project in the timeframe, with the attention given at the early concepting stage. We created a model of the magazine made to scale and each magazine is threaded onto a wire. If you look closely enough you can even see the staples in the fold of the magazine.”

The celebratory exhibition, opened 31 January until 18 February at The Saatchi Gallery, showcases work of contributors to the magazine, including some of the world’s finest photographers. Photographers featured include Dan McCullin, David Bailey, Eve Arnold, Snowdon, Richard Avedon, Eugene Richards, Sam Taylor-Wood, Terry O’Neill, Chris Floyd and Stuart Franklin.

Have a look at the piece in Creative Review and on BestAdsOnTV.com!

And don’t forget to check out our project pages for more images and watch this space for behind the scenes designs from the concepting & creative development stage…

The job was to consist of two distinct parts; we were to create a print only image as well as a 360 panoramic studio. The design of the studio was carefully constructed using a combination of old archival drawings, existing periodical buildings, descriptions in literature, as well as a little creative imagination. We also had a historian on hand to approve all elements before they were constructed ensuring that the final rendering was as close as possible to how it could have been.

Once we had the studio constructed the task was to export a seamless 360 degree panorama to form part of an iphone app which would allow users to take a virtual tour of the location. We also generated some 3d models of sculptures and other elements in the studio which the user can select and move around to explore and learn more about.

The exhibition itself is a sight to behold, bringing together over half of Da Vinci’s surviving paintings. As well as two questionable offerings thought to be produced by him, but still under analysis from critics and scholars, the first is Virgin and Child the second Christ. Luke Syson, Curator of the National Gallery explains just how difficult the exhibition has been to pull together:

“We’ve had to do two things. One is to persuade people of the scholarly merits of this show – were it just about the name, were it just about creating a blockbuster experience, I don’t think we would have been as successful as we (hopefully) have been. People don’t lend pictures by Leonardo lightly, and as there are so few of them they are incredibly important for each institution that owns them, as emblems of the particular galleries that contain them. Discussions have taken years – quite literally – in some cases.”

The exhibition is on until the 5th of Feburary 2012, and the interactive app is available on iPhone or Andoid and you can see the entire project here.

Chosen for Lürzer’s prestigious ‘Ad of the week’  award, our Pretty Polly campaign has been making waves all over the country. From animated displays to nationwide billboards. See it in pride of place on Lürzer’s website or find out more information about the job right here!

The concept has been developed by agency Beattie McGuinness Bungay, to promote designs by fashion label, House of Holland, for its latest range of tights. The campaign is being widely featured in fashion and lifestyle publications and online, including Grazia, Glamour, Heat, Sugar, Harpers, Nylon, MTV, Daily Mail, as well as outdoor billboards and digital OOH displays nationwide. The campaign is running for 6 months.

Our team of artists integrated the photography of fashion photographer, Jolly, with Computer Generated Imagery to create 3 stylised executions with versions for moving image and print. It is this ability to seamlessly transform still images into motion that makes the studio stand out as a complete creative production house, able to control an integrated production under one roof. worked closely with Jolly on set at the photography shoot, to ensure the necessary shots were captured to be integrated with the CGI environment. The attention to detail and involvement of the studio even at this first stage in the production was essential in ensuring the combination into 3D and motion was successful. Head of Retouch, Josh Rogers, says “Knowing the print ads were to be adapted for animation meant ensuring we had sufficient parallax to accommodate the camera moves. Our key consideration when building the city background was ensuring we had enough ‘reveal’ on our sky and building elements, so that as the camera moved down the street all the buildings had subtle realistic parallax within our comic book world.”

This campaign is another strong example of the use of limited assets to produce a holistic campaign across still and moving image. With rapid developments in advertising technology, such as the use of digital billboards and the rising number of digital magazines for portable devices, this elegant and cost-effective solution is at the height of demand. Our expertise and ability to work flexibly with diverse techniques across print and motion enabled this campaign to come to life.

We’re really honored to accept this award, we’d like to thank Aitken Jolly (photographer), Beattie McGuinness Bungay (agency), our families, friends, our dog, God, the universe, everyone who believed in us.

With these ads marking the first example of a winter tyre being advertised on UK TV, the message and look had to be clear. Right from the start, we compiled a mood board of styles that would not only sell the message of winter, but also provide a welcome moment of calm amid the plethora of other adverts. Sticking to a cool, frosty, crisp feel meant they could play with the aesthetics to really produce a magical winter scene. This final mood also had to be reflected in the sound design; marrying the crunching of fallen snow and twinkle of snowflakes with the rumbling of a rolling tyre and the rush of arctic wind. Great care had to be taken to ensure the design came out ‘magical’ and not ‘Ice Road Truckers’.

Attention to detail was paramount, working with such a tight (and inflexible) schedule meant that we had to hit the right levels of detail and perfect the look early on to keep the client happy. The CGI (Computer Generated Imagery) animations take four different forms; Teaser, Breaking, Handling and Reveal. In order to maintain a consistency between the different scenes, the tyre rig had all the particle generators incorporated into it. This had the added benefit of huge time savings when animating, especially when adapting the route for client feedback.

When trying to achieve so much within a tight time scale it’s incredibly important to be working with a good agency. Palmer Hargreaves proved to be an excellent partner in this respect; quick feedback and concise comments meant all the deadlines were hit on time. Client feedback has been excellent with the final results far exceeding expectations!

Here’s hoping the contestants perform as well on the show as the little wheel does in the ads, though you know what celebrities are like; they tyre easily.

This dynamic landscape links onto topics, news and tools at FT.com. The images match that of the substantial 16,000 pixel render used for the poster, providing exceptional detail across every building.
To create this complex visual with Computer Generated Imagery (CGI), we worked closely with art directors at RAP to develop the composition before moving into production. The exterior of every building needed to be created from glass whilst enabling the viewer to see clearly into every furnished office, boardroom and cubicle to reveal business people going about their work. We carefully considered the balance of interior lighting against exterior lighting such as the sun, shadows and reflections. Taking into account the complex properties of the main material, exacting control of the glass was necessary to ensure clarity, controlling the tint and the levels of reflection.

With the buildings so tightly packed and standing in front of one other, rendering all the refractions and reflections was technically challenging. With a CGI image of this scale, renders would normally be split up to allow for a more flexible rebuild, but this was not feasible due to the complex level of refractions within this image. TJ’s R&D team conceived a method of using transparency alphas that allowed the render to be broken up whilst maintaining the visual of the original file. This technically intuitive solution then provided the retouchers the flexibility to alter certain elements of the image during the finishing stages with maximum efficiency.

The innovative FT.com campaign demonstrates the power of cross-platform advertising to actively engage viewers in print and online. Our CGI and post-production expertise and creative problem solving skills ensured that the ambitious project was realised to its full potential. For more information about behind the scenes of the production, visit www.taylorjames.com/glass-city

The outdoor banner campaign combined Griffin’s outstanding photography and Taylor James’ expertise in creating impossible, yet photo-realistic imagery from multiple shots. The campaign, launched by Guinness this month, was aptly entitled ‘The Power to Lift Us All’ to represent the force of spirit and pride the Hurling game brings to the Irish nation. Such is the popularity of hurling; the 2010 final drew the biggest sports audience for RTE of any event that year!

We pulled together multiple elements of varying scale and angle to achieve this complicated retouch, utilising bespoke photography shot by Kevin Griffin and augmenting with material from their own internal stock library, to make the impossible a photorealistic reality. Taylor James’ understanding of the components and technical challenges involved when capturing photographic images enables them to provide a unique and efficient production solution when working with single frames to large-scale multi-part compositions.

Josh Rogers, Creative Lead and Head of Retouching at Taylor James said:“The image highlights Taylor James’ creative ability to expand an initial brief and develop it into an epic moment in which the unreal feels totally realistic, exceeding both the art director’s and photographer’s creative vision for the image!”

Award-winning advertising photographer, Kevin Griffin, had confidence in TJ to get the final look for this image. “I wanted to keep the Guinness work purely photographic, I therefore chose Taylor James to retouch the elements,” he said. “Josh Rogers being one of the best photographic retouchers I’ve worked with in the business, his attention to detail, understanding of a job and patience is second to none”

To see the whole job and a step by step of how it was created, click here

“I was thrilled at the chance to be on set with the rest of our photography team, and Saatchi & Saatchi Health’s creative team. It was all hands on deck from the start- so I had no other choice but to the get stuck in!

“TJ was asked to create an image that would promote the image of a healthy heart. By using 6 Hand Models, each with different ethnic backgrounds, the objective of the day was to capture each shade of each individual’s natural skin pigmentation and/or colour. With the right shots, the ultimate goal would be to retouch the images and bring the hands together (various fingers of each Hand Model) to create an illusion that would form the sacred shape of a heart.

”The day began with setting up the equipment; two of the most important pieces to the puzzle were setting up the proper backdrop and solid lighting. The set up, at first, seemed to appear quite complex but after closer inspection, I came to find that it was kept quite simple. Having our own internal photographer present, and having commissioned LJ Hopkinson for the shoot, once on set, we got to work on pulling together the backdrop. We placed 2 C-Stands (held down with 2 sandbags) about 6 to 8 feet apart from each other in the darker and more secluded end of the studio. Tightened to the C-Stands was a rectangular frame that would be used as the backdrop. Once tightened into position, a black fabric was draped over it, cutting a couple of slits through the material, allowing for the model hands to be poked through.

“LJ set up the camera, which was tethered to her laptop, allowing the team and the client to give instant approval or position changes from the shots taken. Kate, our Lead Retoucher, also set up a space for comping the various elements together. This allowed the rest of the team and client to see how it might look as a final piece and if it matched the brief.

“Before the six chosen hand models arrived, we had to run some very important tests. To set up the right angles/lighting, LJ used a couple of us already on set as hand model mimics. Snapping photo after photo, LJ moved the lighting around to bring out the finer details of our hands and fingers. By this point, I had been given a Canon 5D to take “Behind the Scenes” photos for the website.

“Each model took up to 30 minutes to shoot; conducting their hands in various positions poked through the hole in the backdrop. We cycled through each model quite smoothly, calling them back if needed. Once we had photos of each set of hands, we began to double up sets of hands, having different combinations of models hold their hands together through the backdrop. This enabled Kate to compare the different proportions and shapes of each hand that she would be able to work with.

“Soon enough, after a long photo processing session, Kate was given some shots to play with to help give Saatchi Health an idea of what the end project may look like. Our client was happy with all of the final shots!  After 6 ½ hours of shooting, it was time to break down the set and handover to retouch- where they would be comping the images together, giving the different fingers a seamless and refined look in the shape of a heart; picture perfect.”

See what our clients had to say about our services, visit the ‘Heart Hands’ project page.

Our latest healthcare feature for PMLive (pharmaceutical marketing) has been published, head on over to their site and read it.  To see more of our pharmaceutical/healthcare work, visit our All Work page.

After twenty-six successful years in the industry The Knowledge commissioned us to create the cover and dividers for their 2011 installment of their renowned directory, used by over 24,000 TV and film production professionals along with 300,000 online visitors a year. The shots have also been used as inspiration for their summer 2011 website re-launch!

The images feature some instantly recognizable objects from within the film and production industry, formed in 3D letters to make subtle but identifiable words. Our team’s collective passion for film-making and story-telling meant we were instantly drawn to this unexpected project, and wanted to create images that accurately reflected the industry. The Knowledge is all about the day-to-day functions of film and TV production and the hurdles you may come upon whilst on set. I wanted to create common scenes that looked incidental, as if you had just come upon the objects in a real-life environment. It would’ve been simpler to have placed the objects against a studio backdrop but for me it was important that we took photographs that would serve as a backdrop and suited the perspective of our shots.

We created the objects for each scene with CGI, integrated these with the backgrounds shot by our photographic department and brought the elements together with focus effects and colour grading by our retouching team. Having all of our services under one roof means we can control the production efficiently and ensure consistency in the quality of our work.

Due to time-constraints, we had our dedicated team of R&D technicians write a bespoke script and software plug-in that would automatically cover the shapes with lettering. Giving the images that ‘incidental’ feeling of coming across the objects in their natural state also meant extra time was invested in creating unique shaders for each object, allowing the hat, sandwich, and scissors to take on a feel of their real-life counterparts.

Edward Canavan, Associate Publisher at The Knowledge, said:

“We were so impressed with both the quality of the work you did for us and the professionalism of everyone involved. As one of London’s leading creative studios, we knew they would be the perfect fit with The Knowledge’s values of quality and creativity.

“The designs are stunning representations of real production environments on set, beautifully lit and rendered in amazing detail. We couldn’t be happier with the finished work and are confident our subscribers will love the design Taylor James created for the 2011 edition.”

ABOUT THE KNOWLEDGE

The Knowledge is the UK’s leading production industry directory, used by over 24,000 production staff within UK production companies.  First published in 1985, The Knowledge has become the first port of call for production professionals to find crew, facilities, studios, production services, and location suppliers, for their productions. The Knowledge contains over 18,000 companies and crew, and is recognised by the industry as being the most accurate source of contacts available. The Knowledge is also accessible online via www.TheKnowledgeOnline.com

Clients love the videos, as many have varying experiences working with CGI and they often act as a reference point visually and the general file structuring involved in creating our work. The Step by Steps have also proved a hit with our high student following.

Having started life as a photographic retouch house, attention to detail is fundamental in every part of the work that we do, and so are accustomed to working to the highest quality and resolution for stills; as our standards are maintained throughout everything that we do, we have nothing to hide.  Allowing our clients to see our skills laid bare means they can always trust us to do a great job and meet the brief every time.

Take a look at one of our earlier and most iconic prints for British Airways, ‘More Beds’.