studio background

Founded in Sydney in 1999, Adam Walker Film [AWF] was born from the desire to create film projects that expressed a specific design and cinematographic intent. Initially focused primarily on digital animated projects, with the occasional short “live-action” shoot thrown into the the mix, the fledgling studio was able to leverage the booming democratisation of animation technologies that occurred in the later 90’s.

Over the intervening year the scope of the studio has evolved extensively. As the world increasingly continues to embrace digital technologies for entertainment and engagement, so to has the studio’s repertoire of technical and creative skills.

Many years later we’re a creative production studio drawing on the excellence of a manifold pool of talents from artists with diverse cultural and technical backgrounds; however it’s still the studio’s namesake that ultimately drives the ongoing development and advancement of the studio – my team is the consequence of the efforts I have forged through organic human associations and connections from over two decades of professional rigour and passion.

We value our clients and believe they value us, and we wouldn’t have it any other way. To begin on the journey with us I would encourage you to reach out and discuss your project.

Adam Walker
1999
2017

animation theory and philosophy

We believe that animation (in the broader sense) is a powerful creative “cinematographic” craft that is perhaps without parallel in it’s ability to distill and express the essence of narrative and character.

Although by no means is this the answer for everything. Over the many years of existence, we have been party to projects where characters have fallen smack bang in the middle of the “uncanny valley”; that has taught us the power of the reality of the human expression.

Humans love humans; the trick is not to be human, it’s to represent humanity – to distill what feels/looks/tastes good.

The so-called golden rules of animation, so eloquently and appealingly presented by the masters at Disney many decades ago, are undeniable and to this day remain the basic litmus test for animation quality.

However the question regarding the impact of animation is now, more than 80 years later, more about … why animation? In a world where you literally cannot distinguish between the “real” and CGI characters, why must you distinguish between the two?

design ideology and outlook

In reference to design, a word that is not used to the extent that is should otherwise be is egality. Too often the need to “convince” a client that a certain approach is the “one” undermines the validity of alternatives.

Fit for purpose may seem an unglamorous term but it does describe a key design discipline in the studio; not to be mistake for a moment for close-enough good-enough.

One of the discerning features that elevates design [and the broader artistic pursuit] is the necessity to iterate and refine. This rigor is often hard in a world of [near] immediate gratification – but it is only through this progressive self assessment of achievement that an elevated and refined design outcome can be achieved.

Whether this is forged out of the singular internal “grit” of an individual pursuing personal resolution or the more battle-tested structure of a studio where this process of revision is forced down from above [in the nicest sense] due to the nature of the production food chain.

On a lighter note, make sure you check out the studio’s micro-game “Color Strain” – how long will your design career last?