Caleb De Leon, CSI

We just finished a job that used both traditional VFX and generative AI. The work is better for it, though not for the reasons I expected. Technology was the easier problem. The harder challenge was establishing shared language so that everyone involved could discuss what we were doing with actual confidence, not just enthusiasm. We broke storyboards into a traffic-light system in pre-production, agreeing collectively on where the emotional heavy lifting needed to sit and what was connective tissue. That process gave us clarity on why certain moments deserved more time, more craft, more human attention than others. We sampled almost every available tool to understand what was actually viable, and I quickly learned not all GenAI tools are equal. Sometimes you want quick and scrappy, sometimes you need surgical precision. The exercise of interrogating each tool, asking "why this one and not that one, for this shot and not that one," sharpened how we thought about the entire process. When experience and taste lead, GenAI is a powerfully efficient pathway. It is not a replacement for either. No one has all the answers right now. But we are asking better questions than we were six months ago, and personally I think that is where the real value sits. Thanks again to @supermemberscouncil @thinkerbellpics and @jaemorrison & @mofa.tv_ for braving the frontier with us all here at @3pstudio #vfx #generativeai #postproduction

She’s finally out! This one’s been a real labour of love for the studio. Extremely happy with how this turned out. Thank you to everyone who had a hand along the way. There’s a lot of you! Special mentions to @haley__mcdonald @jolyonwatkins @damiontiernan @underscoreaudio @chrisballedit @cornelius_ionescu @starnes4311 @3pstudio kicked off 2025 with a whole lot of dust, night shoots, VFX puzzles and it hasn’t slowed down since. Wouldn’t change a thing! Credits on the other post!

Last week was the end of an era for me as I finished up at Chop Shop. I was left looking back on my career over the last 5 or so years and I’ve come to realise I often hyperfocus on the future without stopping to celebrate or commemorate the milestones along the way. So, here are some retrospective bts highlights from my camera roll ✌🏼

3P Studio provided the grade and sound design for A Moment in the Sun, directed by Thomas Van Kalken and Mia Weinberger and produced by @filmfocus_productions . It's a beautiful, quiet doco about community and what happens when something enormous passes through a small place. Come join us at its Australian Premiere at @gcfilmfest on April 30 at Dendy Southport. Red carpet from 6:30pm. Tickets: gcff.com.au/program/a-moment-in-the-sun/ #3pstudio #gcff2026 #colourgrade #sounddesign

@3pstudio is delighted to be a proud partner of Screen Producer Australia's Ones To Watch. Our senior staff Caleb De Leon and Roxana McMallan will host a webinar for Ones To Watch cohort Wednesday 15th April. Congratulations to all the Ones To Watch for 2026! @screen_producer 

#SPA #screenproducersaustralia

30 shots. 14 unique geese. 1 advertising campaign. Golden Super Goose for Super Members Council - an ambitious hybrid VFX and generative AI job that had us pioneering new workflows across modelling, lookdev, animation and comp. A very special job in the 3P Studio history books. Thanks to Tom, Garret & Di and the team at @thinkerbellpics , and Jae, Llew, Megs and the crew at @mofaproductions for having us on team Golden Super Goose. Lovely spot @supermemberscouncil ❤️ #vfx #generativeai #3pstudio #postproduction

Earlier this year I wrapped VFX supervision on a TVC for Super Members Council with @thinkerbellpics and @mofa.tv_ Last week the campaign went live! A fable brought to life by @jaemorrison The goose that laid the golden egg, cinematic realism, a world that needed to feel believable and alive. The brief had more ambition than a conventional workflow could handle, so we blended generative AI with traditional VFX. Not to move faster. To iterate more, explore more, and give the idea room to lead before the pipeline constrains it. By offline we had generative AI geese in every hero shot. Not grayscale animatics, but animals with scale, blocking and performance to help inform the edit. When things got really specific, the models couldn’t follow. That’s when you pivot back to traditional skills, to sculpt and paint and comp exactly what’s in your head. No prompt replaces those microdecisions and taste, and I’m glad for that. A core team of 4 with a rebel unit of 8 by the end, lent their care, craftsmanship and gumption to bring it to life. I’m very proud of what we made. Prouder of how everyone challenged the rules and thought their way through it. 1. Ryan Gosling stand-in 2. Some TVC highlights 3. BTS from set during a take 4. More BTS of Brian Gosling hanging out on top of a caravan 5. Early GenAI tests I sent @jaemorrison from an uber out of excitement 6. R&D tests with Gemini in our edit suite - more on this coming soon* 7. Memes Couldn’t have been possible without the support of everyone at @3pstudio incl. @damiontiernan Marzena, @a.a.ron_i Lora, Josh & Andru! *Part 2 to follow… #vfx #postproduction

Today we had the honour of welcoming The Honourable John-Paul Langbroek, Queensland’s Minister for Education and the Arts and Member for Surfers Paradise to 3P Studio. He toured our facility, met our incredible team, and saw firsthand the innovative work we’re doing across AI-powered production, VFX, animation and proprietary creative tech platforms. A huge moment for our studio and an exciting step forward for the future of creative technology in Queensland. @jplangbroek Thank you for your time Minister. #3PStudioGroup #QueenslandArts #CreativeTech #AIFuture #VFX #Innovation #QldArtsMinister

Tarantino once told UCLA film students:
“It’s not your job to create your vision; it’s your job to have a vision.” With that in mind, I thought it might be of interest to share a few development examples of how I’ve been utilising AI within the ‘normal’ production process: AI: Articulating Intent
Yes, the usual cultural bias shows up in these style frames — the styling is generic and underwhelming — but it quickly aligns my team on what I’m chasing. From there, they can bring their own expertise to elevate every detail, in camera. AI: Archival Integration
We needed shots that didn’t exist in the race footage. That wasn’t going to stop us. By combining different programs, prompt engineering, and a clear vision, we were able to generate the material we needed, in glorious 4K 🤓 AI: Additional Ingredients
I wanted jockey flags added into the crowd footage. A simple chain — Adobe Illustrator → ChatGPT-5 → Midjourney → Topaz AI → After Effects — delivered accurate, moving flags that now sit seamlessly in the scene. AI: Artistic Improvement
When the budget only covers a plain purple background but the vision calls for a Champagne Petal Space Party… it becomes about passion, persistence, and refusing to stop until the result is premium.

3P Studio has officially landed in Surry Hills. After a decade of delivering killer work both nationally and globally, we’re bringing the full force of our post-production to Sydney. New office. Big energy. Same 3P hustle.
Come say hey 👋

New Work// ISUZU D-MAX EV - FIVE ELEMENTS: To launch the all-new Isuzu D-MAX EV the campaign takes the lens of the Japanese philosophy of five elements to frame their first consumer EV. The launch film anchors a comprehensive suite including global TVCs, digital cutdowns, and social assets—all produced through the power of 3P Group's end-to-end capabilities. Client : IMIT Product: Isuzu D-Max Electric Vehicle 3P Group CEO: Haley McDonald Creative Director: Caleb De Leon Executive Producer: Damion Tiernan Account Director: Cornelius Ionescu Production: Spry Films @spry.films Director: Jolyon Watkins DOP: Richard Kendall Producer: Alan Robinson Concept Artist: Luke Bubbs Post Production: 3P / Monarx @monarx_post VFX Supervisor: Caleb De Leon Editor: Chris Ball Motion Graphics: Gwyn Dixon VFX: Nick Davies, Justin Harrison, Aaron Ibbotson, Sean Robinson, Ben Ying, Thana Nabadalung Audio: James Starnes Colourist: Justin McDonald

FPVs, Heavy-Lifts & Steadycams, oh my! This was a craft delight, brought to life by an incredible team of experts. Huge thanks to Dexus and The Hallway for making this cinematic joyride possible. Dexus @dexus_community Chief Marketing Officer: Raechelle Inman @raechelleinman General Manager, Brand: Kylie McIntyre @kyliemc1204 Marketing Manager: Ellie McNamara @elloumac @thehallway_australia Creative direction: Simon Lee & Aldo Ferretto @whoisaldous Client lead: Libby Hams @libbyhams Senior Integrated Producer: Michael Wilson Production Company: @mofa.tv_ Director: Jae Morrison @jaemorrison Executive Producer: Llew Griffiths @llewg Producer: Niko Aulich DOP: Sherwin Akbarzadeh @sherwin_akbarzadeh Post House: 3P Studio Group @3pstudio @monarx_post VFX Supervisor: Caleb De Leon @calebdeleon Executive Producer: Damion Tiernan @damiontiernan Colourist: Alina Bermingham @alinabermingham Sound mix & Music Composition: @rumblestudios EP: Michael Gie @gieproducer Music: Nick Polovineo @_nighttime_music_   Music: Felix Bornholdt @felixbornholdt Sound Engineer: Tone Aston @toneaston_sound Voice Artist: Marta Dusseldorp @martadusseldorp Photography Production: Photoplay Photography Photographer: Romello Pereira @romellopereiraphoto Producer: Ross Colebatch @r__co Post Production: Ken Liu