 |
|
|
Our clients include |
|
|
|
| 4 Creative |
Adidas Predator |
|
| AIVAF |
Alton Towers |
|
| B Sky B |
BBC Broadcast |
|
| BBC Digital |
BBC Worldwide |
|
| Big Talk Productions |
Blink Productions |
|
| Brennan & Whalley |
BT |
|
| BUPA |
Cadbury |
|
| Canadian Tyre |
CF1 Cyf |
|
| Channel 4 |
Chemical Brothers |
|
| Chips Ahoy |
Churchill Insurance |
|
| CMG IT |
Crooks Healthcare |
|
| Dangerous Films |
De Kabel |
|
| Diet Coke |
Direct Line Insurance |
|
| Discover Credit Card |
Draw Pictures |
|
| Flame Television |
Flynn Productions |
|
| Ford |
Gaumont |
|
| HSI London |
Imperial War Museum |
|
| Independent |
Jack Morton Associates |
|
| Jagged Films |
Kellogs |
|
| Lippe Taylor |
Lipton Brisk |
|
| Lotto |
Lucid |
|
| Madame Tussauds |
Mars |
|
| McDonalds |
MIRAMAX |
|
| MJZ |
Nestle |
|
| Oxfam |
Paramount British Pictures |
|
| Pepsico |
Phil McIntyre Entertainment |
|
| Pioneer Productions |
Playboy |
|
| Pretty Polly |
Red Bee Media |
|
| Redmond Products |
Revolution Films |
|
| Robbie Williams |
Royco Minute Soup |
|
| RTH Group |
Science Ltd |
|
| Shell |
Smith and Sons |
|
| Sony |
Spyglass Entertainment |
|
| Stereophonics |
STIBAT |
|
| Sun Dance Films |
Teacher Training Agency |
|
| The Bee Gees |
The Black Watch Regimental Museum |
|
| The Menier Chocolate Factory |
Thinktank |
|
| Thorpe Park |
Trunk Animation |
|
| U2 |
Unilever |
|
| United Artists |
Virgin Media Television |
|
| Volkswagen |
Walkers |
|
| Wall To Wall |
Warm and Fuzzy |
|
| Weetabix |
Winchester Films |
|
| Working Title Films |
Zoltar |
|
| 3 Celebs and a Baby |
7Eleven |
|
| Animals In The Womb |
Aussie Hair Care |
|
| Bacardi |
BBC1 Christmas |
|
| Blackbeard |
BMW Traffic |
|
| Bonjela |
Cola Cao |
|
| Dan MacMillan |
Dove Conditioner |
|
| Enigma |
Galaxy Caramel |
|
| Galaxy Hazelnut |
George Clooney |
|
| Gosser Beer TROUT |
Hackers |
|
| Hot Fuzz |
Just Visiting |
|
| Lazytown |
Light Fantastic |
|
| Lighthouse |
Little Shop of Horrors |
|
| LIVING |
MERL |
|
| Nicorette |
Nurofen |
|
| Peperami |
Pimms Hamper |
|
| Pinocchio |
Ponti Cactus |
|
| Quaker Oats |
Reign of Fire |
|
| Rolls Royce |
The Borrowers |
|
| The Brothers Grimm |
The Dreamer |
|
| The Millennium Dome |
Toby The Square Boy |
|
| Tomb Raider II Cradle of Life |
Troy |
|
|
|
|
|
|
|
|
Some happy customers |
|
|
|
|
|
|
|
"Artem created and produced a large array of masks and prosthetics on the film, as well as liquids work. The most striking results were achieved for the live adaptation of the Arcim Boldo paintings in the Banquet sequence. It was great working in Artem?s West London workshops with the designers and sculptors. I also appreciated the follow up on set during photography, as masks can be very tricky to handle. The Artem crew interacted very effectively and smoothly with the costume and make up departments on the production."
Ivor Sekulic, VFX Supervisor - Just Visiting, Visual Factory UK |
|
|
|
"Artem are brilliant! Everything that Artem has delivered to us has been of the utmost first class and always perfectly timed."
Ronaldo Vasconcellos, Line Producer, Hot Fuzz |
|
|
|
"The Artem team embraced our project from the outset and pulled off a great job ? especially given the time constraints involved. Turning a person into a believable, living version of such a well known piece of art was no mean feat, but they rose to the challenge and more than delivered."
Phillipa Smith, Producer, Smith & Sons |
|
|
|
"I have worked with Artem many times over the years as a Producer making television commercials and always found them to be innovative, enthusiastic and creative - whatever the scale of the budget.
When I turned to them for their help on The Dreamer, a highly ambitious science faction short film about human cloning, they threw themselves into the project despite lack of funds.
They designed a termination, electrocution arm that was so superb it could have come from a Hollywood mega movie. Not only did it look fantastic, but it also worked.
It was the key piece of hardware ? the whole production would not have worked without it looking totally believable.
During the short seven days of our production, they supplied a highly professional effects team to standby during the shooting ensuring that everything went smoothly and that we achieved virtually everything on our storyboards and shot lists.
I recommend Artem and their team to all Producers about to make a movie in England involving any kind of physical special effects. They won?t let you down."
Ivor Powell, Producer, The Dreamer |
|
|
|
"This was a major undertaking, and relied on planning, careful execution and clear communication between Tom Vaughn, Marco Puig (Production Designer), Steve Truglia (Stunt Co-odinator), Simon Taylor and the Artem team.
I don't think the shoot day could have run more smoothly and great to achieve the effect in camera, with only minor enhancement in post."
Jeremy Barnes, Producer, HLA |
|
|
|
"The Centaur was far more than an innovative special effect. It was a key character to our story. Artem helped to turn the creative team's ambitious vision into a beautiful reality. The blending of man and technology to create such a moving and enduring theatrical image was a remarkable achievement."
Richard Mullen, Coordinating Producer for the Opening Ceremony, Jack Morton Associates |
|
|
|
"The final character exceeded all expectations and both clients and the production team have been immensely impressed by Artem's expertise, professionalism and the sheer enthusiasm of Chris Martin and his team for the project. The puppet sequences were filmed at Artem's blue screen studio."
Reg Boorer, Executive Producer, The 3R Partnership |
|
|
|
"Simon worked closely with me on the setting up of our drama filming special effects and our model filming on location in Malta. Very professional and crucially for us on top of health and safety policies for the pyrotechnics etc. I look forward to working with him again."
Tim Goodchild, Producer/Production Designer, Dangerous Films |
|
|
|
"We have worked for many years with Artem. Knowing that they have built giant moose heads, animatronic snowmen, giant tortoises and the Parthenon, we were sure that a Wugga Wugga bird would be no problem for their talented sculptors and designers."
Jane Gershfield, Producer, Big Bang Productions |
|
|
|
"..so, I get a phone call out of the blue from Sony/BMG "we need a street legal Lunar Buggy for a Jay Kay music video in 10 days. Can you get us a quote and a feasibility" After about 5 seconds of pondering I rang Bob at Artem and 10 days later we had Jay Kay at the wheel of a replica moon buggy racing around the streets of London at 50mph. Job Done.
Bob and his team copied, as exactly as possible, the Lunar Buggy that rolled out across the moons surface over 35yrs ago quickly setting about cannibalising a dune buggy adding about 40% to its length, removing the role bars and dressing it with tonnes of space age paraphernalia. They did a great job."
Phil Tidy, Producer, Draw Pictures |
|
|
|
"Thank you to Artem for all your help on Tristram Shandy. It was an odd job needing effects ranging from battle scenes and firework displays to a sash window that traps a boy's willy! The Artem team where patient and enthusiastic throughout and it was a pleasure working with them."
Emma MacDevitt, Art Director, A Cock And Bull Story |
|
|
|
"The Artem team very quickly grasped the concept we were working to. The natural elements we were shooting presented unpredictable problems and Artem did an excellent job at limiting the possibility of any of them arising. I was also impressed with the team's initiative and adaptability when reacting to direction given during the shoot day."
Lee Walker, Creative Head, Design, Virgin Media Television |
|
|
| |
