How we make
what you can't film.
This is how we work, one workflow at a time. Each method here has been tested on our own films and brought into productions alongside the crew, the edit and the people who sign it off.
Want the finished films? See our work →
Television keeps
changing channels.
Live broadcast, the living room, colour, the edit. Every few decades the way television is made changes, and the people who adopt it first shape what comes next. Scroll through ninety years of it, made as one continuous camera move.
All images AI-generated · a studio film by Channel Changers
Shoot it in a grey room,
finish it anywhere.
Period streets, lost buildings, places you'd never get a permit for.
The actor performs for real on a simple grey set. We build the finished world on the first frame, get it signed off as a still, then carry the whole take into that world with the performance and the camera move intact.
It suits period drama, historical reconstruction and any location that's gone, too costly or out of reach. The example here is The Watcher, a greybox test for a Victorian reconstruction.
Workflow demo · all images AI-generated
The workflow in one minute, narrated by Sam Wilkinson.
Stills in GPT Image · video in Omni 1.1 Flash on Google Flow · the transform in Omni V2VDrag to compare
The same take, before and after. Left of the line is the greybox plate as it was shot; right of the line is the finished frame. Drag the handle, or focus it and use the arrow keys.
Workflow demo · all images AI-generated
Six steps, from the grey room to the edit
Workflow demo · all images AI-generated
- 01
Greybox
The performance is filmed for real in a grey studio, with a few flats and some tape on the floor. It's lit roughly the way the finished scene will look.
- 02
Frame one
The first frame becomes the design stage. The world is built on that one still, from period reference, and signed off before anything moves.
Before 
After - 03
Depth
A depth pass maps where everything sits in the room.
- 04
Transform
The clip goes through the model and comes out in the new world, with the actor's timing and the camera move intact.
Plate 
Final - 05
Sign-off
Every shot reaches the producer as a still first. Anything that doesn't work is redone before it's animated.
- 06
Delivery
Approved shots go straight into the edit with notes attached, ready to cut.
Sheets and approved keyframes
Characters and locations are drawn up as sheets before any shot is made, so every frame is built from the same references. The seven keyframes below were approved as stills before they were animated.
Workflow demo · all images AI-generated
Stand where it stood.
Watch it come back.
The Crystal Palace burned down in 1936. This teaser starts in the park at Sydenham today, rebuilds the glass palace as it was in 1899 from archive reference and fills it with visitors. Halfway through it stops to show how it was made, from the evidence to the true-scale model to the finished frame, then brings back the night it burned.
It shows how a history series can put a presenter in a place that no longer exists, and move between then and now in a single shot. The presenter here is an AI stand-in.
AI-generated images and 3D model renders · presenter is an AI stand-in
A period reconstruction teaser: the Crystal Palace, Sydenham, 1899 and 1936.
Rebuilt from archive reference · 2 min 6 secBuilt to scale before a frame is made
Nothing of the building survives to film, so the work starts with the record. The main dimensions come from period sources. The palace is then modelled at true scale in Blender, so every camera sees a building of the right size and shape.
- Length of the building
- 1,608 ft
- Height of the central transept
- 168 ft
- Height of the nave
- 104 ft
- Height of the water towers
- 284 ft
Blender model · true-scale blockout
Four cameras, from block model to finished frame
Each camera gives three guides: a block render, a depth map and a line drawing. The finished frame is made on top of them, so the architecture stays the same from shot to shot.
Guides rendered in 3D · finished frames AI-generated
Five steps, from the record to the edit
- 01
The evidence
Plans, measurements and photographs of the building as it stood.
- 02
Built to scale
A plain 3D model at true scale, with cameras placed where a crew would stand.
- 03
Checked
The model is checked against period photographs. Where they disagree, the photograph wins.
- 04
The finished frame
Glass, ironwork, gardens and visitors in the dress of the time, signed off as a still.
- 05
Then and now
Approved frames are animated and cut against the park as it is today.
TV is changing channels.
Everyone's coming along.
The old way and the new way, in one gondola. Two character sheets, one location and a fight that returns to its opening frame. It's a 28-second loop built through the same workflow we bring to a series, where every character has to look like themselves in every shot.
From the script
to the sofa.
This is the production workflow behind the scroll film on our homepage. One script goes in at the top. What comes out is a cut, graded programme on a living room telly, with every shot traceable back to the page.
- 01
The brief
Every script is broken into shots, references and a continuity passport before anything is generated.
- 02
The board
Our platform tracks each frame from prompt to approval, so the edit always knows what it's cutting.
- 03
The world holds
Same rooms, same faces, same light, episode after episode.
- 04
On air
Cut, graded and on air.