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FlintWalk燧石行
成都燧石行影视科技有限公司walk
中国 成都市 Intro： Founded in 2020, Flint Walk is a collective of creatives that strives to provide a platform that transcends the boundaries of technology, art, and business. Our aim is continual collaboration with the promise of delivering momentous content. We are a creative agency and production house that have delivered over 450+ projects for global brands. Our full-stack solution seamlessly integrates virtual content into real-life scenarios for clients worldwide using professional online production management processes, along with our enterprise-level server matrix and rendering farm. Business cooperation | 15202812255 WeChat | FlintWalk Weibo | FlintWalk燧石行
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星火+｜巨人归来：跨越时空的巨物奇观，再度登陆成都Spark+ | The Giant Returns: A Larger Presence Reappears in Chengdu
当巨型石手破屏而出，熔岩般的光纹在指缝间流淌——那个让千万人驻足仰望的巨人，回来了。 这一次，FLINT ART「星火+」强视效系列迎来全新篇章《巨人归来》，跨越时空的经典IP再度登陆成都太古里，邀你一同置身巨物化奇观的现场。 作为“巨人IP”系列的第四部作品，《巨人归来》延续了强视效领域的一贯追求。巨型石手从屏幕中挣脱而出，熔岩光纹在表面涌动，仿佛异时空的古老力量正试图跨越维度，与城市建立连接。这正是星火+“强视效”系列的核心理念——让公共艺术回归视觉本身，用技术与想象力，在城市中心制造一次次“身临其境”的相遇。 熔岩光纹、石物质感、破屏而出的力量感——这一次的巨人，承载着FLINT ART的技术积累与美学沉淀，以更纯粹的视觉语言，再次对话城市。 自2022年起，FLINT ART持续深耕“巨物化”视觉领域，巨人系列已成为作品库中最具代表性的IP之一，从神话想象到数字现实，每一部作品都在探索视觉表达的边界。 巨人I｜来自未来时空的神秘巨人 灵感源自中国传统图腾文化与古代建筑纹饰。半透明黑色面罩上的几何符号，成为巨人系列的标志性语言。巨人徒手掰开屏幕的瞬间，开启了巨物化奇观的城市叙事。 巨人II｜Sonder时刻 从“坚硬”与“柔软”的对立中生长而出。玻璃的通透、大理石的裂缝、身体里绽放的花朵——巨人开始拥有情绪与温度。它不再是异时空的闯入者，而是城市里“美丽的偶然”。 巨人III｜重塑 首次引入AI辅助三维技术，巨人的形态经历了从“虚幻体”到“能量体”再到“实质化”的完整蜕变。沙土质感与流动能量的结合，呈现了数字艺术与自然元素的融合可能。 “星火+”是FLINT ART发起的城市数字艺术赋能计划。自2022年起，我们已积累超100部原创公共艺术作品，涵盖巨物化、城市文化、自然生态等多元主题。 “强视效”作为星火+的核心板块之一，以巨人系列为代表，专注打造具有极致视觉冲击力的公共艺术内容。这些作品不仅服务于城市地标大屏的日常播映，更可适配文旅景区、商业空间、品牌活动等多元场景，提供可定制、可落地的数字艺术解决方案。 《巨人归来》已登陆成都太古里盈嘉S+裸眼3D大屏。欢迎前来见证这场跨越时空的巨物奇观。如需了解更多星火+强视效系列作品及合作方式，欢迎联系我们。 FLINT ART brings The Giant Returns to Chengdu Taikoo Li, continuing the Giant series under our Spark+ initiative. First introduced in 2022, the Giant series has become one of our most recognizable original works for naked-eye 3D screens. The series began with a masked figure pulling open the screen, then continued through Sonder Moment and Reshape, where the Giant took on softer materials, shifting forms, and a more emotional presence. Each work has changed the way the Giant appears, but the core idea has remained the same: a larger-than-life figure entering the city through the screen. The Giant Returns brings that idea back in a simpler, more focused way. Instead of revealing the full figure, the work centers on a giant stone hand emerging from the screen. Lava-like light moves through the cracks of its surface, giving the hand a sense of heat beneath the weight of the stone. The piece does not need a complicated storyline. Its strength comes from a clear image, carefully built. The hand feels heavy, the movement is measured, and the screen becomes part of the illusion rather than just a place where the video is played. For FLINT ART, this is what makes the Giant series worth continuing. It is not only about making a strong visual effect. It is about creating an original digital IP that can keep returning in new forms, while still feeling connected to the public spaces where it appears. The first Giant work drew from Chinese totem culture and ancient architectural details. Its dark mask and geometric markings gave the series its early identity. Giant II: Sonder Moment moved the figure into a gentler direction, using glass, marble, and floral elements to give the Giant a more fragile quality. Giant III: Reshape brought AI-assisted 3D production into the series, allowing the figure to move through changing forms and materials. With The Giant Returns, the series comes back to a more direct visual language. The stone hand feels closer to the physical force of the first work, but the overall treatment is more refined. It is a return, but not a repetition. Spark+ is FLINT ART’s ongoing initiative for original digital art in public space. Since 2022, we have created more than 100 works for city screens, with the Giant series standing as one of the clearest examples of how our original IPs can continue to grow over time. The Giant Returns brings the series back to Chengdu Taikoo Li, where the Giant once again meets the city at public scale.
这个春节，我们把“马”玩明白了 Horses Take the Spotlight This Chinese New Year 2026
马年怎么过？我们的答案是：来点真的。FLINT WALK用三部真马实拍裸眼3D作品，给马年整了点不一样的。 For the Chinese New Year 2026, FLINT WALK built a series of naked-eye 3D works around a simple idea: real horses, filmed for real. Three pieces were produced using live-action footage, bringing the presence and movement of horses directly onto the screen. 真马入屏，千灯入梦 Real Horses, A City of Lanterns 海澜飞马水城，本就是国内独一份以“马文化”为核心的文旅目的地。这个春节，我们和飞马水城一起搞了套“王炸”组合：白天看真马大片，晚上逛千灯盛会。 飞马千灯会以“锦绣大唐”为主题，万灯璀璨、梦回盛唐。而FLINT WALK为其量身定制的两部全新裸眼3D真马实拍数字作品——《最佳马友》与《一骑当先》，则为这场灯会注入了不一样的灵魂。 Pegasus Watertown is one of the few destinations in China built entirely around equestrian culture. During the holiday, the site runs on two rhythms: equestrian performances and installations during the day, and a vast lantern festival after dark. This year’s Pegasus Lantern Festival draws from the visual world of the Tang dynasty, filling the grounds with thousands of lanterns inspired by its aesthetics and motifs. For the occasion, FLINT WALK created two new naked-eye 3D works using real horses — Saddle Mates and Ahead of the Pack. Shown on site during the festival, the pieces bring a different kind of presence to the lantern displays: movement, scale, and the physical energy of the animals themselves. 在数字构筑的花园里，双生小马用眼神传递依偎的温情；在戈壁风沙的背景中，骏马与骑手以力量划破时空。用科技复刻生命的灵动，让真实的马匹在大屏上奔跑、凝视、呼吸——这是科技与传统的第一次深度握手，也是马文化在数字时代的一次全新表达。从白天到夜晚，从虚拟到现实，这场“马文化”的全景体验，让游客不再是灯会的旁观者，而是故事的亲历者。 In a digitally constructed garden, two young horses lean toward one another, their quiet warmth carried through a glance. Elsewhere, against a wind-swept desert backdrop, horse and rider surge forward, cutting through dust and distance. Filmed with real horses and translated into naked-eye 3D, the works capture the details that make the animals feel alive on screen—the rhythm of breathing, the stillness of a gaze, the force of a run. Here, technology meets tradition, giving equestrian culture a new form of expression in the digital age. Across Pegasus Watertown, the experience unfolds from day into night, moving between physical space and digital scenes. Visitors are no longer just passing through a lantern festival—they can step directly into the story and our intention. 不止飞马水城，成都也来了一匹拜年“真马” And in Chengdu, a “real horse” arrives for the New Year as Well 每年春节，成都太古里盈嘉S+裸眼3D大屏都会成为城市焦点。作为西南地区的文旅地标，它见证过无数传统生肖与数字艺术的精彩碰撞。 The celebration wasn’t limited to Pegasus Watertown. In Chengdu, another horse will also appear on screen to mark the holiday. Each Lunar New Year, the Yingjia S+ naked-eye 3D screen at Chengdu Taikoo Li becomes one of the city’s focal points. As one of the region’s best-known cultural landmarks, it has hosted many encounters between the year’s zodiac symbol and digital art. 今年我们和红星传媒合作的真马实拍作品《神马都好》，在太古里盈嘉S+裸眼3D大屏准时赴约。一匹真马从剪纸风格的红色礼盒里探出头来，眼神灵动得让人想伸手摸一把。有人说这是第一次在屏幕上看到会动的真马拜年，有人问：“这是真的马还是特效？”我们只能说：来太古里，自己看。 This year, together with Hongxing Chuanmei, we brought a new work to the Yingjia S+ naked-eye 3D screen at Chengdu Taikoo Li: The Mane Event. A real horse appears from inside a bright red gift box styled after traditional paper cuttings, lifting its head with a curious, playful look—so vivid it almost invites a pat. Some viewers said it was the first time they’d seen a real horse on screen delivering New Year greetings. Others simply asked: “Is that an actual horse, or CGI?” 一场实验，一个答案 作为燧石行“星火+”战略下“真马实拍”赛道的2026年开年之作，这两组项目验证了一套可复制的方法论：内容共生而非简单叠加，让数字作品与实景空间形成深度连接；线上话题精准转化为线下动线，用#马年看飞马 #马年真祝福 等话题把讨论锚定在具体目的地。 说白了就是：我们用真的马，讲真的故事，吸引真的流量。 A New Approach, With a Clear Result As the first project of 2026 under FLINT WALK’s SPARK+ initiative, the real-horse filming approach proved a method that can be repeated. Rather than layering digital content onto a location, the work is built to coexist with the space itself—linking the screen experience with the physical setting around it. Online conversations were also directed toward real destinations, with topics like #YearOfTheHorseAtPegasus and #RealHorseNewYearWishes guiding attention back to the sites themselves. 创新启示，未来可期 《最佳马友》、《一骑当先》与《神马都好》既助力海澜飞马水城以及成都太古里在新春节点高效破圈，更重要的意义在于：它们为生肖文化传播、城市级事件营销开辟了一条可复制的创新路径。将前沿的数字技术与深厚的传统文化相结合，用极致的视觉冲击与真实的生命感染力，持续释放文化与商业融合的多元价值。 2026马年奔腾而至，这是一个关于速度、力量与前程的意象。FLINT WALK诚邀更多屏幕方与品牌方携手，以数字艺术为媒介共同探索更多可能，打造专属的年度爆款事件，让每一次亮相，都成为时代记忆的闪光注脚。 星火已燃，期待同行。 Saddle Mates, Ahead of the Pack, and The Mane Event brought new attention to Pegasus Watertown and Chengdu Taikoo Li during the Lunar New Year. More importantly, the projects point toward a repeatable approach for presenting zodiac culture and shaping city-scale holiday moments. By combining advanced digital techniques with a cultural symbol as familiar as the horse, the works rely on two simple elements: visual impact and the presence of real animals on screen. Together, they open another path for cultural storytelling to exist within large urban media spaces. The Year of the Horse arrives with its usual associations—speed, strength, and forward momentum. For FLINT WALK, it is also an invitation: to work with more screen partners and brands, using digital art as a medium to explore new forms of public storytelling. The spark is there. The rest is what we build next.
2025，我们把卡皮巴拉搬上了大屏幕 2025: Bringing the Capybara to the Public Scale
过去这一年，我们把那只总爱发呆、慢悠悠的卡皮巴拉IP形象，从表情包和短视频里“搬”上城市最热闹的巨幕。从成都太古里到重庆观音桥，再到贯穿春夏秋冬的完整旅程，这场长达一年的屏幕实验，与其说我们在做一个IP，不如说我们在尝试为城市地标，注入一种更轻松、更治愈的情绪价值。 Throughout the past year, we have brought the beloved capybara from digital stickers and social media feeds to the landmark screens in some of the country’s busiest districts. From Chengdu’s Taikoo Li to Chongqing’s Guanyinqiao, we created a journey that follows all four seasons. For us, the core of this project was centered around emotion. Rather than simply creating a character, we wanted to see if we could use these public displays to evoke empathy. Creating a sense of calm within the urban flow. 成渝双屏：当卡皮巴拉，成为城市的新“地标游客” Twin Cities: The Capybara as a Transitory Figure 一切始于2025年初，当画风清奇的卡皮巴拉“旅游团”空降成都太古里盈嘉S＋裸眼3D大屏与重庆观音桥裸眼3D巨幕，事情开始变得有趣起来，它们淡定地路过两地的特色景点，用幽默又互动的方式把本地文化变成了屏幕上可触摸的趣味故事。 那一刻，大屏不再只是广告牌，它成了一个会讲故事的窗口，卡皮巴拉也成了穿梭于双城之间的“特殊游客”，用它的松弛感重新连接了行人、游客与城市地标。 The project began in early 2025, when a group of capybaras appeared on 3D screens in Chengdu and Chongqing. We envisioned them as "visitors" passing through local landmarks. These are not just high-traffic screens. They’re a window for storytelling. In this moment, the displays moved beyond their function as billboards. 四季之旅：和卡皮巴拉一起，走过完整的四季 A Journey Across Four Seasons 双城互动之后，一个更完整的念头冒了出来：不如，陪它走完一整个四季。于是，「卡皮巴拉的四季旅程」系列诞生了。我们想用一年时间，在城市中心，为忙碌的日常按下四个温柔的暂停键。 We chose to follow the character through the changing seasons, developing the Capybara Seasons series. Across four projects, the capybaras inhabit four distinct seasonal worlds, each visually and emotionally different. Yet their gentle, unhurried nature stays constant. Set against the pace of work and city life, these scenes offer a quiet moment of stillness amid the rush. 《“豚”了个春天》像一个打开的立体礼盒。从高低错落的花草盒子中冒出头，阳光从顶上漏下来——我们用裸眼3D重构了一个城市里的自然角落，让它带着治愈感，为繁忙的日常按下暂停键。 《冰“豚”一夏》让故事变得好玩起来。卡皮巴拉被冻成一块冰，“哧溜”从复古冰箱滑到海边小卖部。冰块裂开，两只水豚瘫在椰堆边晒太阳，这次我们把两个场景连成一段清凉小剧场。 《秋日最虎的豚》玩了一次反差萌。卡皮巴拉顶起毛茸茸的虎头帽，蹲进金黄银杏堆里，虎头虎脑，却依旧豚里豚气。我们通过技术营造出幽默的戏剧感，让画面在治愈之余，也多了些让人会心一笑的灵动。 《温嘟嘟慢“豚豚”》是终章，也是一次温暖的回归。石砌温泉池里漂着橘子，卡皮巴拉和伙伴眯眼泡汤，头顶橘子浑身冒着小热气。在石池竹影间，四季的故事温暖收尾——原来慢慢生活，本身就是一种力量。 We started off Spring by turning our corner into a natural space, where the capybara appeared amidst blooming fields of canola flower—a story told through timing and light. Summer shifted to a more playful narrative, where small, delayed reactions defined the character’s personality. By Autumn, we used the contrast of a traditional tiger-head hat against a backdrop of ginkgo leaves. The final chapter, Winter, brought the series to a close with a scene of quiet composure in a hot spring. Each project focused on a specific season, continuously anchoring the capybaras unbothered presence. Again, reminding everyone who sees to move at their own pace. 未来：它的旅程还在继续 The Journey Continues 四季的故事在屏幕里温暖收官，但卡皮巴拉的旅行地图，似乎才刚刚展开。它身上那种“去哪儿都很淡定”的性格，好像特别适合去探索更多不同的地方，我们始终觉得好的公共艺术，是能让人会心一笑的连接。所以未来，这只小家伙可能会带着它的松弛哲学，通过户外大屏这个任意门，去到更多的城市，遇见更多的风景。 While the seasonal series has concluded, the capybara’s journey is still expanding. Theres a certain charm to this character that draws the attention of those who sees it. We believe that public art should serve as a quiet mirror for the people passing by. Moving forward, we intend to bring this relaxed rhythm of life to more cities, exploring how digital art can continue to humanize the urban landscape.
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