a.k.a. that time when the enthusiasm of signing Scott Anderson powered 10 months of all-hands-on-deck overtime work that pushed our team’s strength to the very limit.

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Our biggest project at the time, Muhammad was the first chance we got to work with award-winning Scott Anderson, and a test for the entire team to see how far we’re willing to go to help our clients in the race for the elusive “on-time, on-budget” medal.

 “The Muhammad project started out as a lot of technical work, mostly camera tracking and later roto. As the project progressed and deadlines got pushed, the client recognized a valuable production asset in us, so we managed to score some full compositing shots as well. Seeing the immediate effect of our hard work and being rewarded with more responsibility in the project was a huge motivating force. I think that’s what helped us power through so much overtime and weekend for almost 10 months.”

Nikola, digital compositor



“As Crater’s biggest undertaking at the time, Muhammad was an all-hands-on-deck situation that required them to pull in talent from the Training Center along with the regular pool of artists, which is how I came to be on it as well.

Technically speaking, it was a huge challenge for me, especially since it was the first actual VFX work I had done outside of school. On the other hand, witnessing the energy of the entire studio working like clockwork to achieve a unified goal is how I fell in love with Crater and the industry, and one of the reasons why I am a part of it today.”

Luka, rotoscope artist







“Muhammad was literally a team-building project for us. Aside from teaching us how to deal with the stress of deadlines and the incredible amount of overtime, its demands pushed us to call in fresh reinforcements from our Training Center and assemble an in-house compositing team that continues to exist today.

In a nutshell, it showed us what we’re made of and helped us set our goals even higher. That history is still being written. ”

Cassandra, VFX production manager


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