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About Chamber
Born from Hong Kong's creative field
Chamber was born from the creative journey of founder Ben Mok (@benmokhk) — a Hong Kong-based VFX artist whose works explore how motion and imagery can shape emotion, rhythm, and perception. What began as solo visual experimentation evolved into Kayoubi Create, a creative collective for bold CGI and branded motion content.
As the vision expanded, Chamber emerged — not as a new beginning, but as a continuation of that evolution. Today we work across four lines: self-initiated street art, commercial public events, permanent venue content, and creative collaborations.
"Unbound by subject or format — we reinterpret and elevate any element into an experience that stirs emotion and memory."
Own Project Line
Street Art
Self-initiated works that transform the urban landscape — using projection, light, and digital imagery to reframe the familiar.
Projects
SA-001 · SA-002 live
SA — 002 · Latest
Shibuya
Public Installation · Tokyo, Japan
View project →
SA — 001
Street Sign
Public Projection · Nathan Road, HK
View project →
SA — 003
Next Project
Assets pending
An independent practice without a brief
The Street Art line is Chamber's self-initiated creative practice — projects driven by curiosity, not commission. Works that occupy public space, question urban perception, and push digital imagery into unexpected physical contexts.
Each piece begins with a location, a material, or a question. No clients, no briefs — only what happens when technology meets the street.
Also from Chamber
Street Art · SA-002
Shibuya
A self-initiated public installation at one of the world's most iconic urban intersections — bringing Chamber's digital language into the streets of Tokyo.
Type
Public Installation · Digital Projection
Location
Shibuya, Tokyo — Japan
Line
Street Art — Own Project
Overview
Shibuya is Chamber's most ambitious self-initiated work to date — taking the studio's immersive digital practice beyond Hong Kong and into one of the world's most saturated visual environments.
The project explores what it means to insert a personal visual language into a space already overloaded with commercial imagery. At Shibuya, Chamber's installation becomes a whisper among noise: precise, deliberate, and felt rather than shouted.
The work continues the Street Art line's core question: how much of what surrounds us are we truly seeing — and what does it take to make someone stop?
Concept
How four Hong Kong stories were engineered for Shibuya’s screen landscape.
The project began months before any artwork existed, with pure research. The team catalogued Shibuya’s outdoor screen network — positions, dimensions, viewing angles, pixel pitches, brightness levels and the pedestrian flows moving beneath each one. Reference footage was shot from the exact spots where audiences would stand, because a piece that reads perfectly on a monitor can collapse completely at forty metres above a crossing.
Every major screen was then rebuilt inside a 3D environment. Each of the four artworks was developed within that spatial simulation, with camera positions matching real sightlines, so perspective tricks, pop-out moments and depth cues were engineered for the true viewing geometry rather than guessed. Multiple rounds of simulation-render-adjust refined the illusions until the dimensionality held from street level.
Creatively, the brief was self-written: carry Hong Kong to Tokyo with respect for both. Four subjects — the Star Ferry, a Hong Kong taxi, sparrows, and a cat — were each fused with a Japanese cultural reference: Initial-D-style drifting for the taxi, sakura falling through the sparrows piece, the Shinjuku giant-cat language reinterpreted inside Hong Kong’s Monster Building, and a cyberpunk harbour treatment for the Star Ferry shaped by Tokyo’s own urban atmosphere.
Realized with support from NEO Shibuya and presented entirely without commercial intent, the final program ran as a one-week flash exhibition across more than 87 screens, looping hundreds of times a day — a Hong Kong visual language broadcast into one of the most saturated media environments on earth.
Showcase
The highlight cut from the takeover — one of four works shown across Shibuya’s outdoor screens.
★ Highlight
Chamber Lab presented a one-week street art flash exhibition in Shibuya, Tokyo in mid-March, with works shown across over 87 large outdoor digital screens, looping hundreds of times per day. The project was self-initiated, realized with support from NEO Shibuya, and presented as a Hong Kong-themed artistic showcase with no commercial intent.
We created four pieces focused on dimensional visuals, developed through studying Shibuya's screens and refined using 3D spatial mapping and simulation to ensure accurate perspective. The works feature the Star Ferry, Hong Kong taxi, sparrows, and a cat — combining Hong Kong subjects with Japanese cultural elements.
Each piece draws from specific inspirations. The taxi includes pop-out effects and drifting inspired by Initial D. The sparrows piece features sakura and references past street sign works. The cat is set within Hong Kong's Monster Building, with a giant cat filling the space, inspired by the Shinjuku cat. The Star Ferry emphasizes impact and dimensionality with a cyberpunk-style environment influenced by Tokyo's urban atmosphere.
Behind the Scenes
Setting up, testing and filming across Shibuya’s crossings during the exhibition week.
The week on the ground was a production of its own. Screen slots looped on fixed schedules, so the team mapped out timetables for every location and moved through Shibuya in circuits — verifying playback, checking colour and brightness against daylight, dusk and the district’s own neon, and noting which screens delivered the strongest dimensional read for documentation.
All showcase footage was captured on location in real conditions: handheld among crowds, through rain and umbrellas at the scramble crossing, from footbridges and across intersections at night. Nothing was composited in afterwards — every shot of the work is the work, playing publicly, with the city moving around it.
The behind-the-scenes clips here show that rhythm — arriving at a site, waiting for the loop, catching the piece as it surfaces between advertisements, and the small audience moments in between: pedestrians stopping mid-crossing, phones lifting, a Hong Kong ferry sailing across a Tokyo screen.
BTS — Setup
BTS — On Location
BTS — Shibuya
Street Art · SA-001
Street Sign
Type
Public Projection
Location
Nathan Road, Hong Kong
Line
Street Art — Own Project
Overview
Street Sign is a public projection project that transforms one of Hong Kong's most iconic symbols — the Nathan Road street sign — into a canvas of motion and perception.
The work explores how digital visuals can interact with the limitations of public signage, reframing a familiar urban object through light, rhythm, and reflection.
The piece asks what happens when the infrastructure of navigation becomes the surface of art — and how much of what we read as permanent is merely habit.
Concept
Motion studies for how imagery reads on a reflective sign surface at street distance.
Every piece in the series starts as a motion study built to the sign’s exact geometry. The Nathan Road sign was measured and recreated digitally — its proportions, its retroreflective face, the dark frame around it — and content was designed to live inside that shape rather than simply be thrown onto it.
The studies test how animation behaves on a surface engineered to bounce light: how fast motion smears, which colours hold against the reflective coating, how much contrast survives the surrounding shop glow. Type, texture and imagery are tuned until the sign appears to transform itself — as if the object, not a projector, is doing the work.
This concept stage is also where the no-trace principle is enforced. Nothing touches the sign; the entire intervention exists as calibrated light, designed to appear complete for a moment and vanish without leaving a mark on the city.
Showcase
The projection live on Nathan Road — light graffiti in motion.
Chamber Lab explores how virtual creation can exist within real urban space. In this series, digital imagery is projected directly onto Hong Kong's street signs — turning everyday symbols like Nathan Road into moments where street culture and visual art intersect.
The work is not about permanence or spectacle, but about how an idea can appear, live for a moment, and then disappear without a trace. These interventions function as light graffiti — actions that happen in the city but leave nothing behind.
By merging technology, space, and cultural context, the project redefines what street art can be: an encounter that transforms perception rather than the surface itself. @chamberlab.art is the first in Hong Kong to extend street culture and art through the city’s street signs — leaving no trace yet redefining the street.
Behind the Scenes
From studio mock-ups to live projection between traffic-light cycles.
Production began indoors. A full-scale paper replica of the Nathan Road sign was mounted on the studio wall, and the content was mapped, masked and timed against it in MadMapper — every edge, every keystone correction and every animation cue rehearsed until on-street alignment would take minutes instead of hours.
The location rig was deliberately minimal: a high-lumen Epson laser projector on a tripod stand, a MacBook running the mapping session, and power — a setup two people can deploy and strike quickly. Positions were scouted in advance for throw distance, pedestrian flow and the sightline from the pavement where audiences naturally gather.
The projection itself happened at night, worked in the gaps between traffic-light cycles as buses and taxis crossed the beam. Ambient light from shopfronts and billboards was the constant opponent; brightness, contrast and playback speed were adjusted live against it. Crowds formed within minutes, phones raised — the entire documented life of a piece that, by design, left nothing behind.
In the Media
This project travelled far beyond Nathan Road — explore the press features, TV spots and interviews it generated.
Commercial Line
Public Event
Immersive digital production for brands, exhibitions, and cultural institutions across Hong Kong and Asia.
Projects
PE-001 · PE-002 · PE-003 live
PE — 003 · Latest
Regent Hotel
Regent HK × Chamber × Fine Art Asia · LED Wall
View project →
PE — 001
Fine Art Asia
Exhibition · Projection Mapping · HK
View project →
PE — 002
NBA Macau
Brand Activation · LED Court · Macau
View project →
What We Deliver
Brand Activations
Campaign visuals and pop-up digital experiences for retail and events.
Exhibition & Museum
Gallery installations to large-scale public projections for cultural institutions.
Product Launches
Creative direction for product reveals, fashion events, and corporate activations.
CGI & VFX
Hyper-real 3D content for social media, advertising, and exhibition use.
Spatial Design
End-to-end design for permanent and temporary immersive spaces.
Also from Chamber
Public Event · PE-003
Regent Hotel
Regent Hong Kong × Chamber × Fine Art Asia — a panoramic LED wall experience transforming the hotel's iconic lobby into a living canvas.
Type
LED Wall · Digital Art Experience
Partners
Regent HK × Chamber × Fine Art Asia
Location
Regent Hong Kong, Tsim Sha Tsui
Overview
For Regent Hong Kong, Chamber created a continuous panoramic digital artwork for the hotel's ultra-wide reception LED wall — a collaboration bridging luxury hospitality and contemporary digital art with Fine Art Asia.
The content moves through cycles of water, light, flowers, and ink — abstract natural forms rendered in Chamber's signature cinematic style, designed to shift the atmosphere of the lobby throughout the day without ever demanding attention.
Set against the glowing onyx reception desk, the work turns a moment of waiting into a moment of contemplation — hospitality reimagined through motion and imagery.
Concept
Slow, natural motion composed for one of Hong Kong’s widest indoor canvases.
Regent HK × Chamber × Fine Art Asia
The Regent lobby wall is an extreme format — a continuous LED band roughly fifteen times wider than it is tall. Rather than fight the ratio, the content was composed as a horizontal journey: water, light, flora and ink drift across the full span in slow cycles, so a guest standing at any point along the glowing onyx desk sees a complete, balanced picture rather than the edge of someone else’s.
Developed with Fine Art Asia for Regent Hong Kong, the sequences translate classical Chinese art motifs into contemporary motion — porcelain fragments reassembling, brush strokes travelling the wall’s length, peonies and plum blossom opening in real-time pacing. Restraint was the rule: hospitality content must hold a space, not shout over it.
The program was designed around the lobby’s day. Cooler, quieter sequences accompany morning check-outs; richer, more luminous passages carry the evening — an ambient rhythm that lets a functional space read as a gallery without ever interrupting the work of the front desk.
Showcase
Panoramic sequences designed for the lobby’s ultra-wide LED canvas — water, light, flora and ink.
Panoramic Sequence
Installed and running in the Regent’s harbour-front lobby — the wall behind the onyx desk carrying the artwork through check-in, evening arrivals and events, photographed during live operation.
Behind the Scenes
Mastering at 12,000 pixels wide, then calibrating on-site.
Every sequence was mastered at the wall’s native resolution — roughly 12,000 pixels across — which meant building, simulating and grading assets far beyond normal delivery formats. Motion was previewed inside a digital twin of the lobby, checked against the warm ceiling light and the reflective onyx counter before anything reached the venue.
Installation happened in low-traffic overnight windows. Sessions with the hotel’s LED processor matched brightness and colour temperature to the architecture, corrected panel seams across the span, and tuned playback pacing on the actual hardware — because a gradient that is invisible on a monitor can band visibly across fifteen metres of LED.
Final QC ran across a full day cycle: morning, afternoon and night passes confirming the artwork sat naturally in the space at every hour, from every position along the desk — the difference between content that plays in a lobby and content that belongs to it.
Public Event · PE-001
Fine Art Asia
Type
Exhibition · Immersive Zone
Partner
Envisioned by LG OLED evo AI
Location
Hong Kong Convention Centre
Overview
An exhibition is not merely a platform for display — it is an extension of visual grammar into space, where audiences are invited not only to "watch," but to "enter" the worlds we construct.
For Fine Art Asia, Chamber developed a fully immersive zone in partnership with LG OLED evo AI — a mirrored projection room where antique sculpture, digital flora, and reflective surfaces dissolve the boundary between observer and artwork.
The project reflects Chamber's core philosophy: free from the limits of form, any subject can be elevated into an experience that evokes emotion and memory.
Concept
Early spatial and motion studies for the immersive zone.
The immersive zone was conceived as an independent space in dialogue with the antique area beside it — a room where visitors stop being observers and become part of the composition. Concept studies like this one blocked out the fundamentals: a dark volume, pools of light, a single figure, and the question of how far projection and reflection could dissolve the room’s edges.
From these studies came the final design philosophy — guide the audience from watching to entering. Floor projection, mirrored walls and precisely placed artefacts were planned together so that classical objects, digital flora and the visitors’ own reflections would occupy one continuous, borderless image.
Showcase — LG Transparent Display & Immersive Zone
Captured live at the fair — transparent OLED studies and the mirrored immersive room in operation.
Transparent OLED
Display Study
Floor Detail
Immersive Zone
Behind the Scenes
Building a mirrored world inside a convention-centre booth.
The build compressed an architectural project into a fair schedule. Within days, a fully mirrored room went up inside the booth footprint: wall panels aligned seam-to-seam, overhead projectors rigged and blended, and the floor image calibrated so that its infinite reflections read as one continuous, uninterrupted space.
Antique sculptures were then placed inside the projection field — each piece positioned, lit and tested so digital flora could bloom directly across centuries-old surfaces without visually damaging them. Alongside the room, LG transparent OLED panels, presented under the ‘Envisioned by LG OLED evo AI’ partnership, were installed against dark casework and tuned so the digital layer floated at the correct depth in front of the artefacts behind the glass.
During the fair the zone ran continuously, with the team monitoring projector heat, playback sync and visitor flow. The measure of success was simple and visible daily: people stopped photographing the art from outside and walked in to stand inside it.
Public Event · PE-002
NBA Macau
Type
Brand Activation · LED Court
Client
Alipay × NBA Macau
Notable
ft. Stephon Marbury
Overview
Chamber designed the motion visuals for a full-scale LED digital basketball court, transforming the stage into an immersive gaming sports environment.
Created in collaboration with Alipay and NBA Macau alongside basketball legend Stephon Marbury, the project utilized a massive LED floor to bring dynamic energy and visual rhythm to the live event.
Chamber developed on-court game challenges that guided players to follow designated paths displayed on the LED floor, incorporating a countdown timer integrated into the stage visuals.
Concept
Turning a basketball court into a playable interface.
The brief asked for more than decoration — the LED floor had to run actual games. So the visual system was designed as an interface, not a backdrop: glowing paths guide players through dribbling challenges, hit-zones light up under footwork drills, and countdown timers live inside the stage graphics themselves, all built from Alipay’s electric-blue identity fused with NBA court language.
Every game state — idle, briefing, live play, success, reset — received its own motion behaviour, designed so players could read the floor instantly at full speed and audiences could follow the action from the stands and on camera. The court markings, the perimeter boards and the stage screens were treated as one synchronized canvas.
Because the event ran live with Stephon Marbury on court, the entire package was delivered as modular loops the show callers could trigger in any order and hold for any duration — a broadcast-safe system that kept the floor responsive to the real rhythm of the event rather than a fixed timeline.
LED Court — Live
Stage Rig
Showcase
The full event package — court, stage and perimeter systems running as one synchronized canvas on the night, with the game states triggered live around Stephon Marbury’s appearance.
Behind the Scenes
The LED court system running live in Macau — path challenges triggering under players’ feet, countdowns synced across the floor and stage boards, and the full Alipay × NBA visual package holding up under broadcast lighting.
Court Visual System
Permanent Line
Venue Optimize
Permanent digital content systems for hotels, lobbies, retail and hospitality — transforming static spaces into living environments.
The Line
Great spaces deserve more than static decoration. Venue Optimize is Chamber's dedicated line for permanent digital installations — LED walls, ambient content systems, and architectural media that evolve with the time of day, season, and occasion.
From hotel lobbies and restaurant interiors to retail flagships and corporate headquarters, we design content ecosystems that elevate the atmosphere of a venue continuously — not for a single event, but for every day.
Each system is built for longevity: custom content libraries, seasonal refreshes, and imagery calibrated precisely to the architecture, lighting, and mood of your space.
Projects
VO-001 · VO-002 live
VO — 001 · Latest
Lacoste
Heritage Façade Projection · Central, HK
View project →
VO — 002
Thonglor
Spatial Intelligence · Storefront System · HK
View project →
Also from Chamber
Partnership Line
Collabs
Creative partnerships with brands, artists, and institutions — joint works that merge Chamber's digital language with new voices.
The Line
Some of the most interesting work happens between disciplines. Collabs is Chamber's line for creative partnerships — projects made together with fashion labels, musicians, visual artists, cultural institutions, and technology brands.
These are not client briefs; they are shared authorship. Each collaboration brings two creative languages into dialogue, producing work neither party could make alone.
Open to proposals — if you have an idea that lives between worlds, we want to hear it.
Projects
CO-001 · CO-002 live
CO — 001
Apple
Production Workflow · MacBook · Vision Pro
View collab →
CO — 002
Epson
Projection Technology · Urban Environments
View collab →
Also from Chamber
Collabs · CO-001
Apple
How Apple tools support Chamber's production workflow across every stage of visual development.
Apple tools support our production workflow across every stage of visual development. From early idea exploration to detailed visual refinement, Apple products help structure our process, allowing ideas to evolve clearly and efficiently. MacBook supports iterative development, asset management, and timing refinement, while Vision Pro enhances spatial awareness during the production stage — helping us review scale, depth, and visual relationships with greater clarity.
In practice, a production day moves fluidly between the two: MadMapper sessions driving projectors from a MacBook, render passes reviewed wherever the laptop travels, and Vision Pro check-ins where the team walks around a full-scale virtual version of a piece — judging sightlines and dimensionality as they will exist on the street, before anything is built.
This workflow enables us to manage complex visual layers, test variations, and maintain consistency throughout production. By keeping the process fluid and connected, Apple tools allow our team to focus on creative decision-making, visual language, and production quality — shaping street-based visual concepts with intention and precision. @apple
Collabs · CO-002
Epson
Projection technology meets Hong Kong's most challenging canvas — the light-saturated street.
Street projection in Hong Kong is primarily constrained by the city's persistent light pollution. Street lighting, traffic signals, illuminated signage, and reflective building surfaces continuously affect image visibility. As a result, projection systems must deliver sufficient lumen output while maintaining stable brightness and usable contrast under high ambient light conditions.
Projection distance, image scale, and surface material also play a critical role in determining clarity and legibility. In dense urban environments where darkness is rarely achieved, successful street projection depends less on visual design and more on a clear understanding of how environmental light interacts with projection performance. Technical decisions must be based on real-world lighting conditions rather than ideal viewing scenarios.
Working with Epson’s high-output laser systems, every unit is first calibrated in the studio against full-scale mock-ups, then deployed to Tsim Sha Tsui and Nathan Road where throw distance, image scale and ambient glow are tested against reality — the data feeding directly back into how each street piece is designed. @epsonhk
Venue Optimize · VO-001
Lacoste
A one-night heritage façade transformation for Lacoste's grand opening in Central, Hong Kong.
Type
Façade Projection · Pop-Up Activation
Location
Central, Hong Kong
Duration
One Night · Grand Opening
Overview
By seamlessly integrating Lacoste's signature banners with the building's classic arches, we injected a vibrant, glowing green light for a one-night-only grand opening event.
Designed as a non-invasive, temporary pop-up activation, this striking installation completely elevated the historic façade without modifying or altering a single stone of the heritage structure.
For one spectacular evening, the familiar landmark was transformed into an eye-catching, unique visual masterpiece — commanding full attention on the streets of Central before vanishing into the night.
Concept
Brand light on heritage stone — without touching it.
Pedder Building — Green Light · Wide
The design treats the building’s classical arches as ready-made frames. Lacoste’s signature banners and the brand’s vivid green were mapped precisely into the façade’s own geometry — each arch, column and cornice measured so the projection reads as if the architecture itself is glowing rather than being covered by an image.
Because the structure is heritage-listed, the concept was constrained from the first sketch: completely non-invasive, zero fixings, zero alterations, pure light. That constraint became the idea — a luxury intervention that celebrates the building precisely by leaving it untouched.
The one-night format shaped the pacing. The content was composed as a slow architectural reveal rather than a looping advertisement: light tracing the arches, the green field breathing across the stonework, the brand marks arriving as the finale — designed to command attention on the streets of Central and then vanish completely.
Showcase — ★ Highlight
The full façade sequence from the one-night grand-opening activation in Central.
Behind the Scenes
One evening: rig, align, shine, vanish.
Weeks before the event, site surveys measured the façade stone by stone and profiled Central’s ambient light — the shop glow, street lamps and traffic that any projection would have to overpower. Those readings determined projector count, lumen output, lens choice and throw positions across the street.
On the night, the rig went up in hours. Projectors were aligned arch by arch against the pre-built map, edge-blended, and colour-matched so the green field sat evenly across different stone textures. A live pass with the client fine-tuned brightness for cameras and for the naked eye simultaneously.
The installation ran through the grand-opening evening, was documented from the key street sightlines, and was struck the same night — by morning the landmark stood exactly as it was found, with the activation existing only in the footage and the memory of the crowd.
Venue Optimize · VO-002
Thonglor
Transforming a Hong Kong storefront into a dynamic, evolving spatial platform.
The Venue Optimize series is our signature design initiative, crafted to elevate Hong Kong’s local storefronts and spaces into high-impact, immersive destinations. At its core is a commitment to “Spatial Intelligence” — transforming static, single-purpose environments into dynamic, evolving platforms. Precision projection mapping, flexible AV infrastructure and bespoke digital content let a business pivot its atmosphere instantly, shifting from quiet daytime retail or dining to high-energy event hubs, brand showcases or live sports experiences with a single command.
Our approach blends the nostalgic with the contemporary — re-engineered retro-tech such as fully functional CRT systems bridges past and future — while site-specific planning and end-to-end technical production give local businesses the professional tools to curate their own visual narratives and keep every square inch of their space working. @thonglorhk
Concept
One storefront, many atmospheres — Spatial Intelligence in practice.
Thonglor is the working prototype of the Venue Optimize idea: a single Hong Kong space that shifts identity on command. The design integrates precision projection mapping, flexible AV infrastructure and bespoke digital content into the venue’s existing architecture, letting it pivot from quiet daytime dining to event-mode energy — sports nights, brand showcases, live visuals — without changing a single physical fixture.
Re-engineered retro technology anchors the visual identity. Fully functional CRT screen systems were rebuilt and integrated alongside modern projection, so the space bridges nostalgia and the contemporary — glowing tube screens in the window become street-facing touchpoints that stop pedestrians mid-step and pull them inside.
Underneath the aesthetics sits a system design: every surface was assessed for projection viability, every mode was storyboarded, and the content library was structured so the venue can keep its atmosphere fresh over time — a space that behaves less like a fit-out and more like a stage that reprograms itself.
Reel
Showcase — Highlights
Six cuts from the venue system in action — each clip a different mode of the space.
Cut 01
Cut 02
Cut 03
Cut 04
Cut 05
Cut 06
Behind the Scenes
Installing a living system inside a working venue.
The install had to disappear into a business that never stopped trading. Cabling, mounts, projectors and the CRT systems were installed and calibrated after closing hours across multiple nights, with every morning returning the venue to normal service — no downtime, no visible construction.
Calibration was done against reality rather than ideal conditions: content tested with the lights on, with street glow spilling through the frontage, and with furniture in place, so every mode looks right during actual operation and not just in an empty room at midnight.
Handover was part of the design. The entire system runs from simple one-command controls, so the floor team — not a technician — switches the venue’s atmosphere between modes. The six showcase cuts and the reel on this page were shot during those first live nights.
Click to watch
Media
Press, magazines and media pages sharing Chamber Lab — 明報, HK01, LIKE JAPAN, #legend, New Monday, Jet Magazine, U Magazine, The HK Hub and more.
More features and shares are added as they appear. Spotted Chamber Lab somewhere? Tell us.
Beyond installations
More From Us
Chamber Lab is also a creative video production team — direction, cinematography, edit and motion, for brands and creators.
What Else We Do
The same team behind the installations shoots and cuts film. Concept and direction, on-location cinematography, editing, colour, motion design and social-first content — the full production chain that documents our own street work is available for client stories, brand films and creator collaborations.
Every showcase video on this site — the Shibuya documentation, the street sign captures, the venue reels — was shot, directed and produced in-house. That end-to-end craft, from a projection rig at 2am to the final vertical edit, is what we bring to video work beyond our own projects.
