SUMMARY

Metallica don't do subtle. Neither did we. Studio BLUP were staging a live takeover of London's Outernet to mark the release of 72 Seasons, one of the biggest heavy metal albums in years. They needed 3D visuals and motion work that could hold its own on 8K screens in one of the most high-footfall venues in the city. Not decorative. Visceral. The album's visual world is defined by charred material, burnt edges, and the texture of things that have been through something. SeasonOne treated that not as a reference but as a brief. The 3D work needed to feel like it had the same weight as the music: dense, physical, earned. Anything too clean or too digital would have killed the atmosphere entirely. We built 3D animations and visual assets for the Outernet's 8K screen environment in close collaboration with Studio BLUP, then produced the event film, shot and cut for their promotional campaigns post-launch. The takeover ran at full scale across the Outernet's screen network. The content went on to extend the reach of the activation well beyond the night itself. When one of the world's biggest bands takes over one of London's most visible screens, the work has to be as loud as the music. This one was.

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SUMMARY

Kneecap don't make quiet statements. The brief matched. Liar's Tale is the lead single from FENIAN, Kneecap's third album and their most confrontational yet. A punk-rave takedown of political hypocrisy directed by Thomas James, the video needed 3D visuals that could hold their own inside a world described by the director as a carnival of distraction. Absurd, abrasive, and deliberately ugly. Work like this demands a specific kind of technical precision. Each sequence had to be anatomically convincing at a level of detail that holds up on screen, from the structural accuracy of the guillotine mechanics to the physicality of the severed heads, the blood, and the tissue. The 3D had to be built to withstand close scrutiny inside a video that was designed to make audiences look. SeasonOne was brought in by Thomas James as one of several visual contributors on the project. Our work sits at the most visceral points in the video. The guillotine sequences, including the man holding the severed heads with blood trailing from the necks. The scene of a figure welcoming people into the prison. The talking fish. Three moments that required 3D work precise enough to be convincing and strange enough to belong in Kneecap's world. The video accumulated 365,000 views on YouTube. On release day it debuted at number 79 on the Irish Singles Chart, premiered on BBC Radio 1 New Music Show, and was covered by NME, Stereogum, The Irish Times, Hot Press, Louder and Consequence within 24 hours. The work is in the world, and it found its audience fast.

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