Atmos Studios brings The System to life for Arnold Thomas & Becker Lawyers
As covered by Campaign Brief last week, Arnold Thomas & Becker Lawyers launched The System, a striking new creative campaign that reimagines personal injury law through a sci-fi lens. Now, cloud-based VFX house Atmos Studios has detailed the post-production work behind the campaign, delivering what it describes as its most ambitious project to date – proving that even challenging subject matter can be visually mesmerising, and unexpectedly fun to make.
Created by Andy Flemming and Kenny Hill at Kopilot and directed by Mitch Kennedy through The Producers, The System reframes the law as something many people fear tackling: a vast, intimidating, sentient machine. The creative rallying cry – “don’t be scared to take it on” – underpins a Blade Runner-esque, film-noir world where the villain isn’t a monster, but the system itself.
From a post-production perspective, Atmos was tasked with creating what feels like the final act of a sci-fi feature film. Not horror, but something unsettling. Something alive. A machine built over decades, patched together, omnipresent and watching: a metaphor for how big corporations are often perceived: old, tricky and unpleasant.
Technically, the project lived up to its name. Atmos scaled its artists, render infrastructure and bespoke pipeline to deliver a complex film under tight timelines and high expectations, capping off what the studio describes as its strongest project yet.
But the foundation of The System wasn’t technology – it was art direction. From the earliest stages, the team focused on visualising the world in precise detail: how the machine would feel, move and respond, how light would behave inside it, and how scale and texture could convey menace without tipping into cliché. Every creative decision informed the underlying engineering approach, ensuring the technical process always served the idea, not the other way around.
Behind The System is an intensely handcrafted piece of work. Thousands of individual components were modelled and assembled into a sprawling mechanical environment without deploying an army of artists or relying on generative AI. Instead, the team invested heavily in pre-production research and development, finding the right balance between hand-built detail and procedural systems – a level of complexity that ultimately required a 27-page internal reference manual to help guide execution.
Atmos Studios CG Lead Chris Harris says the brief was a rare creative gift: “It was an incredible opportunity to build a grimy, atmosphere-laden world drawing on 50 years of cinematic influence. What began as a clear mental picture became something richer as artists interpreted, refined and elevated the idea – layering in nuance, texture and movement that no single person could have designed alone. The finished film didn’t just match the initial visualisation; it surpassed it.”
Says Kenny Hill, Founder and Executive Creative Director at Kopilot: “Every time we opened a WIP link from Andreas it felt like Christmas morning. The technical prowess of the talented humans at Atmos is undeniable, and their passion for this project is there in every frame. We can’t wait to work with them again.”
A major challenge was designing a system to control thousands of lights and screens across The System – randomised yet purposeful, reactive yet animator-friendly. As the protagonist moves through the environment, the machine responds: lights extinguish, screens go dark, pathways shut down. It’s the system defending itself.
All of this needed to be intuitive for artists, visible in-scene, and accurate at render time, with early creative choices carrying through every frame. Director Kennedy’s decision to shoot on Atlas Mercury Series 1.5x anamorphic lenses gave the film its organic distortion and flares – details Atmos meticulously replicated even in 100% CG shots to maintain continuity. The team also embraced risk on set, shooting talent dressed almost entirely in black against black screens to deliver realism: no chroma spill, no artificial edge work, and seamless integration.
Dark in tone but rich with metaphor, The System is packed with layered detail, from archaic computers to endless cables and flickering screens, each element reinforcing ATB’s positioning as the human force capable of navigating, and ultimately dismantling, intimidating legal machinery.
“For Atmos, it’s a statement project and proof that no brief is too complex when collaboration, craft and curiosity lead the way,” says Atmos founder Andreas Wanda. “Our creative confidence comes from our culture where ideas are challenged constructively, and artists are trusted to push beyond the brief. As the team puts it – built by humans, powered by experience, and absolutely worth taking on.”
Client: Arnold Thomas & Becker Lawyers
Managing Principal: Lee Flanangan
Deputy Managing Principal: Kim Price
Chief Commercial Officer: Kalle Amanatides
Creative Agency: Kopilot
Founder & Executive Creative Director: Kenny Hill
Creative Partner: Andy Flemming
Production Company: The Producers
Director: Mitch Kennedy
Executive Producer: Noelle Jones
Producer: Krystal Bastin
DOP: James L Brown AC
Production Designer: Lance Davis
VFX and Post Production: Atmos Studios
Creative Director / VFX Supervisor: Andreas Wanda
Executive Producer: Dave Kelly
CG Lead / Concepts: Chris Harris
Lead Compositor: Ken Abbott
Lighting: Andrew Lodge
FX: Ferry Taswin
Animation / Surfacing: Andy Sutton
Modelling: Khiem Huynh
Tracking & Roto: Martin Tim
Render TD: Matt Hermans
Software Developer: Arthur Uzulin
Grade: Matic Prusnik
Audio Production: Rumble
Sound Designer: Liam Annert & Sean Wilkinson
Senior Audio producer: Bec Ivanov
Casting: Peta Dermatis & Lauren Mass – Studio P
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