Digital Productions

Presented here are a range of stills from our USAnimation work since 1997.

In many cases these jobs were fully output in USAnimation with little or no need for post production. Even in cases where live action and 3D elements are combined, this can be accomplished completely here.

Of particular note in this regard are Avaya Revolve and Avaya River, Cheese Nips and NatWest (stills from Avaya and Cheese Nips may also be viewed in the 3D Productions Gallery).

In cases such as Lucozade - The Full Mountie, the live action was used for our composites and line up but ultimately recombined in post production.


For jobs such as Have I got News For You 1997-2001, 1001 Nights and Tuesday, complex compositing jobs on a technical level, no post production was needed whatsoever and the images presented here are as output.


We often originate special FX; examples include mist, dancing light and teleportation. For a more detailed discussion of our work please refer to 'King of the U.S.' in the Press Section, and our project descriptions in In-House Projects.

Some of our gallery images are notable in that they use certain techniques. To follow are a small number of examples.



Tickle Tales, Have I Got News for You, Aids Awareness, Truth, Plain Pleasures and Holding the Baby all display an extensive use of texturing. This is all accomplished within USAnimation and allows us to create collage, painterly and roughly drawn effects.



We regularly provide a large number of effects varying from simple glows to teleportation, automatic tones and highlights to transparent, glistening, rippling water. 1001 Nights, The Amazing World of Joe Pasquale and Tuesday are some examples.



Rats, directed and produced by Ian Emes, allowed us to originate a wide vista of palettes over the course of the project, while camera moves and the composing of crowd scenes were also often left in our hands.

For Geoff Dunbar and Sir Paul McCartney's Tuesday, we had the privilege of being allowed to entirely compose some scenes, while a great many flight scenes were choreographed and orchestrated here, originating moves for up to thirty characters per scene. We were also able to suggest and provide numerous FX throughout the film.



Of the images in the gallery, Hyperion / Stardust's 1001 Nights was Bafta nominated in 1998, as was High Eagle's Tuesday in 2002, while Picasso Pictures Natwest and Passion Pictures PBS Stings were both multi-award winners.

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