KIRHA
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The Idea
We turned thousands of AI agents into a flock of starlings.
KIRHA builds AI agents for regulated work, starting with life sciences. Its customers are the teams who prepare clinical trial data, and everything they produce gets audited. The film opens on that problem. AI is easy to demo and much harder to make work in a place like this.
The platform runs on thousands of small agents, each with one job. One searches a source. One writes code. One checks another agent’s work. None of that is visible. On a screen, a thousand agents working together looks like a loading bar.
A murmuration gave us the picture. Thousands of starlings move as one shape and no single bird leads. Each bird in our film is an agent. The flock opens the film, comes back in close-up as a ring of birds, and resolves at the end into KIRHA’s butterfly mark.
Pierre Hay, KIRHA’s founder, closes the film on why they started in life sciences. Helping these teams move faster “has consequences far beyond their desks.”
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The Build & Video
On set shoot combined with four animated sequences.
We shot the live action in one day on three Sony cameras, including a Venice and an FX3. The office in the film is a set. We took a location, did all of the set design, and dressed it to stand in for a real company’s workplace. Pierre plays himself and speaks his own lines.
We lit every setup for a cinematic look and ran the camera moves on dollies. Sound was recorded on a Zoom F6 with a boomed Sennheiser microphone and lavalier mics. A live video feed ran to a director’s monitor. KIRHA’s team watched each shot as we made it.
A full VFX animation workflow was imperative for this film. Our VFX supervisor worked with our VFX team in Germany to create animation that plays alongside the live action. The move from office to sky starts in camera. We push in toward the office window until the sky fills the frame, then the animated flock takes over from that plate.
The birds stay muted for most of the film. Color comes up gradually in the last sequence and reaches KIRHA’s full magenta and blue only when the flock becomes the mark.
For the product section we skipped the generic dashboard. We ran KIRHA’s own agents on synthetic clinical data and built the interface sequence from those sessions. You see the data load, the prompt, the search, the mappings, the code run, an error, the fix, and the validation checks.
Horizon Studios delivered the full film with deliverables in 4K, a 30-second cut, 4x5 versions of both, and a silent loop for KIRHA’s website.
We produced the project through Abby, an autonomous producer’s agent. Scheduling, call sheets, budgeting, and payroll all ran through it.
Credits
Studio: Horizon Studios. Director and Cinematographer: William Julien. Producer and 1st AC: Dani Orlando. 1st AD: JJ Mattson. 2nd AC: Bella Zhu. Gaffer: Christopher Peay. Grip and Electric: Maria Paula Arboleda. Production Sound: Jessie Nunoo. Production management: Abby. VFX and animation: Martin Boué, Renderzeit. Set design, edit, and color: Horizon Studios. Cameras: Sony Venice, Sony FX3. Sound: Zoom F6, Sennheiser boom, lavalier mics.
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