The surgical research centre at Balgrist University Hospital. Two films in full below, plus a run of shorter pieces across their own channels since 2024, made alongside their in-house team.
Timo works out what we actually need before he starts, then iterates with us until it is there. What we ended up with was well received by surgeons, industry partners and our board. He thinks with us rather than just executing.
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OR-X were launching a new courses website and wanted a film to announce it. There was no Figma to work from and no site to record: only course photographs and flat PNG cut-outs of an interface that did not exist yet. Everything below is how that became a film.
PowerPoint would not play the embedded animation, so the storyboard went up as a live web page the client could open in his browser and watch move. He replied the same day. Nothing went to render with the argument still open.
The first art direction stayed close to what the site already was: layered panels moving in 2.5D, depth faked with position and scale. It works. It also looks like a website being presented, which is not the same as a product you want.
The whole thing moved into Blender: real geometry, real light, and one custom material specified on its own before anything used it. Frosted, translucent, refracting, lit from inside. Once it behaved, every object in the film inherited it, which is what makes twenty-four seconds of different shots look like one thing.
The flat cut-outs were redrawn in Illustrator so every panel, pill and filter returned as a real layer, and each one was placed into that material. That is the difference between a screen recording with a zoom on it and a filter that opens as glass with actual refraction.
Late on, OR-X wanted the glass pulled back toward something closer to a screen: flatter, harder, far less refraction. The material was rebuilt and every shot re-rendered against it. What went out is that version, and it is the one below.
A short film for the International Day of Women and Girls in Science, made with OR-X for LinkedIn and Instagram. The concept came out of a briefing with them: I helped shape the idea in the room, they filmed it in house, and I did all of the editing and some of the motion design.
The day's own coverage, brought up on screen and marked as it is read, so the film can point at the thing it is about rather than describe it.
More across OR-X's own channels since 2024: campaign cuts, congress recaps and shorter social pieces, made as a collaborator alongside their in-house team.
See OR-X on LinkedIn →