VFX, CGI, AI and post-production
for film, series and commercials
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All rights reserved 2026
Filmography
In business since 2020.
Shown here: projects from 2024–2026.
12
films, series and shows
1 500+
final shots
The Ninth Planet
2026
70 shots
Chelyuskin. The First
2025
60 shots
Planetians
2025
642 shots
Flight 314
2025
post-production
Crybaby 2
2025
419 shots
Artek. Through the Centuries
2025
30 shots
Baba Yaga Saves New Year
2024
40 shots
Roads of Victory
2025
60 shots
Navar
2026
65 shots
Seven Miles to Dawn
2025
77 shots
The Blog
2026
60 shots
Plus “The Big Difference”
2024
screen graphics
Credited alongside: Sergey Selyanov (Brother), Fyodor Bondarchuk (Stalingrad), Tina Kandelaki, Vyacheslav Murugov, Mikhail Galustyan.
Production companies and networks: Fresh Film, Art Pictures Vision, Kinokult, 123 Production, Dixi TV, Chegeri Production, Ruki Vverh Production, CTB, EMMA.
how we create
01
0
System Ø
Our pipeline runs on our own local AI. One system holds the script, the breakdown, on-set data, shot versions and every meeting decision. After each meeting it writes the summary and the report. Everything is structured and by the book.
Local AI
Project data never leaves for third-party services
GPU farm
Our own — for rendering and simulations
70%+
of processes automated — from meeting minutes to project reports
The journey matters as much as the result. We sharpened this system on the industry’s mistakes, our own included — which is why we think it’s the best on the market.
Script breakdown
We go through the script scene by scene: what gets shot on set, what happens at each stage of post, where the risks are. Every task gets an hour count — and those hours become the budget.
We join as early as the table read — as post-production producer or VFX supervisor.
×10 — that’s how much more an effect can cost when it’s invented after the shoot. The earlier we’re in, the cheaper the shot.
Scene 24. EXT. Ice field — day
The expedition crosses the ice toward the plane. All around — pressure ridges to the horizon.
Shoot + set extensionEnvironment · 24 h
Compositing · 8 h
A crack underfoot. The ice floe breaks off and sinks.
CG · ice and water simulationModeling · 6 h
Simulation · 40 h
Render · 12 h
Compositing · 10 h
Risk: extra takes · +8 h
Above the camp — smoke, visible for miles.
Compositing · smokeSmoke · 6 h
Scene total · 114 h
Illustrative example
Chelyuskin. The First · pressure ridges
Chelyuskin. The First · ice floe
Chelyuskin. The First · camp
On setOn-set supervisor
Makes sure what’s shot works for VFX. If a shot changes on the day, checks the new plan with the director and DP on the spot.
Chroma key, markers and lighting
Checked before the take, so the shot doesn’t have to be fixed in post
Technical data
HDRI lighting panoramas, measurements, chrome and grey balls, references
On-set data — straight into System Ø
The post team gets everything shot and measured the same day or the next
Concept art and previs
We design worlds, creatures and objects with the director and production designer. Previs is a rough 3D layout of the scene that the shoot is planned around.
Look development · The Ninth PlanetLook development · The Ninth Planet
Look development · The Ninth Planet
Look development · The Ninth Planet
Textured 3D model · The Ninth Planet3D models
We model props, vehicles and architecture and take them all the way to final: textures, materials, lookdev. Real sets get built from our models — that’s how the base in “The Ninth Planet” came to be.
LED volumes
We shoot against an LED wall: the actor sees the world of the scene, the DP gets real light and reflections, and part of the VFX lands in camera right on set.
Wall environments
Unreal Engine and 2.5D, signed off by the director before the shoot day
Plates and previs
We shoot the backgrounds and set framing and camera moves from the previs
Test day and supervisor
We test the wall in camera before the shoot and watch the image on the day
Post over LED
Cleanup, compositing and grading of LED footage
Simulations
Physically accurate in Houdini: snow, water, fire, smoke, destruction, cloth, organic matter.
Chelyuskin. The First
The Ninth Planet
The Ninth PlanetCharacters and environments
We build heroes and creatures, then animate, light and render them. We assemble digital worlds and crowd scenes.
For “Baba Yaga” we made Zmey Gorynych, the three-headed dragon; for “Artek” — a whole army of 1812.
Compositing and cleanup
We blend VFX with the plate and remove what shouldn’t be there. We also do on-screen interfaces, like in “Crybaby 2”.
Shot breakdown · Chelyuskin. The FirstAI generation
We generate video for what the scene needs and blend it with classic VFX. A human decides what makes it into the film — and owns the shot.
AI talent · Daniil Rudakov
AI commercial · VkusVillFull
post-production
We take on everything after the shoot — from the edit to the delivery package. No juggling of vendors for the producer.
Editing
Director’s and final cut; VFX drops into the edit as shots are ready
Color grading
One look for the whole film: footage and VFX in one palette, by top colorists
Sound and music
Dialogue cleanup and mix, foley, music
Credits
Opening and end credits — in the film’s style or the network’s template
Masters
To the specs of the network, platform or distributor
Delivery list
Deliverables and paperwork per the platform’s list
17 episodes
“Flight 314” was posted entirely by us: 27-minute episodes, the whole series in 5 months.
Flight 314 · edit
Flight 314 · color
Flight 314 · sound
Flight 314 · credits
Flight 314 · masters
Flight 314 · delivery
Case study · sci-fi feature · CTB, the studio behind Brother · 2024–2026
The Ninth Planet
With director Nikolay Rybnikov we figured out how alien matter looks and moves — alive, liquid, organic.
Sets built from our 3D models
Models done before the shoot — real sets were built from them
VFX supervision
On set we made sure the footage worked for VFX
Simulations, CGI, cleanup, compositing
The full VFX cycle — from the matter to the final shot
New scenes
After the first batch, we were trusted with more scenes of the film
6
months of R&D
200+
concept art pieces
70
final shots
premiere
on time
02
Our rules
How we run every project — from a single shot to a full series.
On your team
We join at any stage — from script to footage already in the can. We build on the director’s choices instead of replacing them. We hold budget and schedule together with the producer.
Reply within an hour
Business hours, GMT+3. A real answer — the same day.
Risks — flagged right away
And we bring options to solve them.
Revisions — as agreed
Rounds and sign-off order are fixed before we start.
Your source files are safe
A hot copy on hand, a cold copy in a fireproof safe. Role-based access. Kept for a year after delivery.
Date at risk? You’ll hear it early
Along with what to simplify to make it.
Dailies
Fresh shot versions every day. Rough ones too: a note is cheaper on a draft than on a final render.
1
Director
Make the blaster light warmer
Meeting minutes
System Ø sends out the decisions: what, who and by when
Statuses in Cerebro
Cerebro is our production tracker: every shot task in one place
Notes on the frame
The director comments and draws notes right on the frame
Elena Grouss-Chonishvili
ProducerVika Del
making films together
Book a call — we’ll show you System Ø in action.
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