galvany
GALVANY came to us for a brand video but together we ended up reshaping how they talk about their business.
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They're reinventing heatpump access - think monthly subscription instead of massive upfront costs. Distributed nodes across neighborhoods that optimize each other's efficiency. Good concept, great cause, but hard to visualize.
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We took the challenge and the more focused our visual approach became, the more they liked it.
Their leadership started using our renders in internal meetings. The visuals clarified things they'd been struggling to articulate for months.
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We expanded into contributing to their full rebrand. Website illustrations. App UX/UI. The kind of collaboration where the lines blur between "deliverables" and actual partnership.
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These projects, where your work changes how a client sees themselves, not just how others see them, are the reason we love what we do.
Client
GALVANY
Year
2025/26
Creative Direction
Christian Zschunke
Producer
Markus Trautmann, #Stephanie Baumgarte
Artists
Philipp Brates, #Remo Gabacciani, #Christian Zschunke
Half the fun was in reintroducing analog imperfections to our perfect digital images.
One of the major challenges to overcome for this project was to nail the right look and feel.
We established early on that we wanted to introduce alot of analouge imperfections to the sterile digital images to make them feel tactile and handcrafted.
So we applied the same love and care one would apply to a craft project and made sure there was no smooth surface left.
The project scope changed. Not in the frustrating "scope creep" way, but organically.
The audience fell in love with the amount of details and care in our animation, so we came back for seconds.
By keeping the structure that the audience loved the first time, we made it easy for them to reconnect.
After half a year on-air we talked to our partners at ZDF and decided to refresh the animation for another year.
We accomodated changes in personal and a refocus of sub-brands they where working on by weaving in the changes naturaly.
By keeping the structure the audience loved the first time we made it easy for them to reconnect but also added a lot of new details to discover.
process
A lot of the creative work is being done before we ever open up a 3D software.
One of the most crucial aspects of detail-filled works like this for the ZDF is to plan ahead to not get bogged down in the sometimes cumbersome production process.
We use a mix of sketches, moodboards and quick visualizations to make our ideas tangible for our partners.
This step allows for fast iteration and experimentation to find out what works and what doesnt.
There is a certain kind of magic in seeing our collective vision coming to life.
A big part of bringing the world to life is to make it move. Every planned character or object that is meant to move is prepared in a specific way to allow for the movement we intent.
For the characters this means creating a digital skeleton that allows us to deform the digital puppet.
This step always feels a bit like magic. Suddenly the still and stoic 3D objects start to feel like characters.
