Game Art 
We are a game art studio providing 3D animation services for studios that need motion at production quality and production speed. Our animators cover character motion sets, creature and non-humanoid anatomy, in-game and cinematic sequences, and the rigging underneath all of it.
With 10+ years in game art outsourcing, we handle game animation outsourcing end to end: we animate on your existing rig and match the weight and timing of clips already in your game, or build the rig from scratch when there isn't one. Everything ships as engine-ready animation for Unity and Unreal, cut and named to your conventions and tested in a sample scene before handover. Studios come to us for 3D animation outsourcing when an in-house team is at capacity, or when a project needs motion sooner than hiring allows.
3D animation services for games: character motion sets, creature animation, cinematics, and rigging. We animate on your rig or build one, and deliver engine-ready clips for Unity and Unreal within your mobile budgets.
CONTACT US
Our 3D character animation services cover the full motion set a game needs: idle and locomotion cycles, attacks, abilities, hit reactions, deaths, and emotes. We animate to your rig or build one for you, match the weight and timing of your existing set, and export clips named and cut to your engine's conventions so integration is a drop-in, not a rebuild.
Full motion sets for game characters - idles, locomotion, attacks, abilities, hit reactions, and emotes. We animate to your rig or build one, and export clips cut to your engine's conventions.
Rigs are where animation projects succeed or stall. We build skeletons, skinning, and control setups that animators can actually work with, plus blend shapes, IK/FK switching, and secondary motion for cloth, hair, and tails. We also fix inherited rigs, rebuild broken weight maps, and set up bone budgets that hold up on mobile hardware.
Skeletons, skinning, and control rigs animators can work with - blend shapes, IK/FK, secondary motion. We also repair inherited rigs and set mobile-safe bone budgets.
Cutscenes, intros, building and upgrade sequences, and scripted story beats. We handle camera work, staging, and timing alongside the character and prop motion, then deliver either rendered video or engine-ready animation data. For city-builders and LiveOps titles we animate construction, upgrade, and reward sequences that ship on a content calendar.
Cutscenes, intros, upgrade and reward sequences. Camera work, staging, and timing handled with the animation - delivered as rendered video or engine-ready data.
Non-humanoid motion is its own discipline. Quadrupeds, insects, amphibians, and invented anatomies need gait cycles and attack arcs invented from scratch rather than adapted from a human skeleton. We study reference, build believable weight distribution, and keep readability high at the small on-screen sizes mobile and top-down games actually use.
Quadrupeds, insects, amphibians, and invented anatomies - gait cycles and attack arcs built from scratch, kept readable at small on-screen sizes.
Animation projects rarely fail on the animation itself - they fail on rig mismatches, naming conventions, and clips that look right in the viewport and wrong in the engine. Our workflow front-loads those decisions so the motion you approve is the motion that ships.
Before any animation starts we review your rig, engine, clip naming, root motion setting, frame rate, and bone budget. If a rig exists we test it for weight map problems and control gaps; if it doesn't, we scope building one. We also collect a reference clip that represents your target quality, so 'good' is defined by an example rather than an adjective.
Where a rig has to be built or rebuilt, this is its own stage with its own sign-off. We construct the skeleton, skin the mesh, and add the controls an animator needs: IK/FK switching, blend shapes, and secondary chains for cloth, hair, and tails. Bone counts stay inside the budget agreed in the brief. You receive the rig and its source file, not only the animation made with it.
A lead animator sets the motion language for the project - how much anticipation, how much overshoot, how heavy the character reads - and blocks the key poses for a first clip. You approve blocking before polish begins, which is where changes are cheap. For large sets this first clip becomes the reference every other animator on the project works against.
We produce the approved motion set clip by clip, adding secondary motion for cloth, hair, tails, and gear where the style calls for it. Non-humanoid characters get gait and attack arcs built from studied reference rather than adapted from a human skeleton. Timing stays consistent across the set because everyone works to the same approved reference.
Every clip is exported with your naming and root motion settings and tested in a sample Unity or Unreal scene - transitions, blend behaviour, and on-screen readability at actual gameplay camera distance. This catches the problems that never appear in the animation software and would otherwise land on your programmers.
You review in-engine, not just as rendered video. We polish against your notes and hand over the clips plus source files and rig, so you are never locked into us for the next iteration. For ongoing projects we move to a repeating cadence tied to your content calendar.
Maya 
Blender 
3ds Max 
Unreal Engine 
Unity 
After Effects 
Mixamo Animation is hard to judge from stills, so these are the actual reels. Character motion sets, casual character animation, and creature work produced for shipped titles - each one animated on the client's rig and delivered engine-ready.
Every reel above was animated on the client's rig inside their engine and naming conventions. If you want to see how we would handle your character, we usually start with one paid test clip before scoping the full set.
The art director owns how motion looks against the rest of your art. They approve the reference set, judge whether the weight and exaggeration match your game's style, and sign off the first clip before the team scales up. On projects where animation has to sit beside existing assets, this is the role that keeps the new work from looking borrowed.
The animation lead sets the motion language for the project and blocks the reference clip everyone else works against. They own consistency across the set - weight, timing, and readability - and review every clip before it reaches you.
Your project manager owns scope, schedule, and reporting. They keep the clip list, track approvals, and make sure feedback reaches the right animator - so you deal with one point of contact instead of a team.
Our senior animators produce the demanding parts of the set: combat, abilities, cinematic beats, and any shot where the timing carries the moment. They work directly on your rig, match your existing clips, and flag rig limitations early rather than animating around them.
The production animators cover the volume - locomotion cycles, idles, reactions, emotes - working against the approved reference clip so timing stays consistent across hundreds of deliverables. Team size scales with your content calendar rather than being fixed at the start.
The technical animator builds and repairs rigs, sets up skinning, blend shapes, and IK/FK controls, and keeps the setup inside your bone and memory budget. They also handle export settings and the in-engine integration test.
The art director owns how motion looks against the rest of your art. They approve the reference set, judge whether the weight and exaggeration match your game's style, and sign off the first clip before the team scales up. On projects where animation has to sit beside existing assets, this is the role that keeps the new work from looking borrowed.
The animation lead sets the motion language for the project and blocks the reference clip everyone else works against. They own consistency across the set - weight, timing, and readability - and review every clip before it reaches you.
Your project manager owns scope, schedule, and reporting. They keep the clip list, track approvals, and make sure feedback reaches the right animator - so you deal with one point of contact instead of a team.
Our senior animators produce the demanding parts of the set: combat, abilities, cinematic beats, and any shot where the timing carries the moment. They work directly on your rig, match your existing clips, and flag rig limitations early rather than animating around them.
The production animators cover the volume - locomotion cycles, idles, reactions, emotes - working against the approved reference clip so timing stays consistent across hundreds of deliverables. Team size scales with your content calendar rather than being fixed at the start.
The technical animator builds and repairs rigs, sets up skinning, blend shapes, and IK/FK controls, and keeps the setup inside your bone and memory budget. They also handle export settings and the in-engine integration test.
Clips are exported with your naming, root motion, and frame rate settings, then tested in a sample Unity or Unreal scene at gameplay camera distance. You review animation in the engine, not as a rendered video that hides transition problems.
One animation lead owns the motion language and blocks a reference clip before the team scales up. That is why weight and timing hold together across hundreds of clips instead of drifting between animators.
Quadrupeds, insects, amphibians, and invented anatomies need gait cycles built from studied reference, not retargeted from a human skeleton. A large share of our animation work has been creatures for survival and casual titles.
We hand over source files and rigs with every delivery. If you later move the work in-house or to another 3D animation company, the rig and the clips come with you - nothing about our setup stops you.
Art Lead at SOFTGAMES
Having Sunstrike as a partner for art development has been a great experience. We can expect a polished final result that blends seamlessly with our in house art assets, which is crucial to us.
Communication is clear and fast, feedback productive. We are happy to work with such a professional studio.
Team Lead at AZUR GAMES
We've been working with the studio for almost a year and are really pleased with the collaboration. The team quickly joined the process, stayed attentive to our quality standards and has always been responsive and flexible when priorities shift. We especially appreciate the seamless communication and strong execution: from artwork to animation and effects.
Special thanks to the motion design team lead, for his thoughtful approach and fresh ideas for our creatives.
Big thanks to the whole team for being reliable partners. Definitely recommend working with them.
Game Producer at Studio Nord
SunStrike is a crew of young and loving their work artists. We had been working on art for two mobile games (art direction, 2d, 3d, animations).
Together we built flexible and effective workflow. It helps us to have predictable quality, terms, and scope.
Art Lead at SOFTGAMES
Having Sunstrike as a partner for art development has been a great experience. We can expect a polished final result that blends seamlessly with our in house art assets, which is crucial to us.
Communication is clear and fast, feedback productive. We are happy to work with such a professional studio.
Team Lead at AZUR GAMES
We've been working with the studio for almost a year and are really pleased with the collaboration. The team quickly joined the process, stayed attentive to our quality standards and has always been responsive and flexible when priorities shift. We especially appreciate the seamless communication and strong execution: from artwork to animation and effects.
Big thanks to the whole team for being reliable partners. Definitely recommend working with them.
Game Producer at Studio Nord
SunStrike is a crew of young and loving their work artists. We had been working on art for two mobile games (art direction, 2d, 3d, animations).
Together we built flexible and effective workflow. It helps us to have predictable quality, terms, and scope.
City-builder work for Social Quantum Megapolis: animated buildings, seasonal districts, and scripted scenes that run inside the game rather than as rendered video. Environment animation carries a different constraint from character work - dozens of looping elements share one frame budget, so each one has to read clearly while staying cheap.
These sequences ship on a content calendar: seasonal districts, event decorations, and building upgrades land as recurring drops rather than one-off deliveries.
We create 3D game characters from brief to engine-ready delivery. We handle UVs and textures for stylized 3D character or realistic looks, and package files for smooth integration into your pipeline.
We can create high-poly sculpts and then retopologize them, or build low-poly models right away, create hand-painted or realistic textures. Package and export the models.
We design 2D game characters from concept to production-ready illustration - heroes, NPCs, enemies, and creatures. Strong silhouettes, clear personality, and consistent style across the whole cast for mobile, PC, and console games.
We produce eye-catching video and static creatives for user acquisition campaigns. Our team creates playable ads, banners, and social media assets.
Introductory Call
Quick video call for game studios seeking art outsourcing. We deliver high-quality art for mobile & PC/console, single assets to full production. We can add AI to pipelines to speed iterations and keep quality consistent. Looking forward to chatting with you!
info@sunstrikestudios.comWe cover character animation (idles, locomotion, combat, abilities, reactions, emotes), creature and non-humanoid motion, in-game and cinematic sequences, prop and environment animation, and the rigging that supports all of it. You can order a full motion set for a new character or hand us a list of missing clips for a character that already exists in your game.
Both. If you have a rig and a naming convention, we animate directly on it and match the weight and timing of your existing clips so new motion sits alongside the old without a visible seam. If there is no rig, or the inherited one is unusable, we build a new skeleton, skinning, and control setup and hand over the source files.
Unity and Unreal Engine are our defaults, and we also deliver engine-agnostic FBX for custom pipelines. We follow your clip naming, root motion setting, frame rate, and bone limits, and we test the exported clips in a sample scene before delivery rather than shipping straight out of the DCC.
Yes, and we ask for the budget up front: bone count per rig, allowed skinning influences, texture and clip memory, and target frame rate. Mobile constraints change how a rig is built, not just how it is optimised afterwards, so having the numbers before rigging starts avoids a rebuild later.
Mostly keyframe. Stylised games, exaggerated timing, and non-humanoid anatomy are usually better served by hand animation, and most of our work is in those categories. Where a project genuinely calls for captured performance we will say so and work with capture data you supply or arrange.
We assign a lead animator who owns the motion language for the project and split the volume across the team against a shared reference set, so timing and weight stay consistent across hundreds of clips. For LiveOps titles we run a repeating cadence tied to your content calendar instead of one-off batches.
Per clip or per motion set for defined scopes, and monthly for a dedicated animator or team when the volume is ongoing. Price depends on rig complexity, clip length, and how much polish the target quality needs - a mobile idle cycle and a cinematic hero shot are not the same unit of work. We quote after reading the brief, not from a rate card.
Send the character or asset, the rig if there is one, your engine and technical requirements, and a reference clip that represents the quality you want. We come back with a scope, a schedule, and a cost estimate, and we usually propose a small paid test clip first so you can judge the motion before committing to the full set.
HOW CAN WE ASSIST?
LET'S BUILD SOMETHING
INSPIRING TOGETHER
Every project is an opportunity for innovation. By blending our R&D-driven approach with creative synergy, we craft distinctive visual identities that redefine standards in gaming and digital art.
info@sunstrikestudios.com
