SLCKET.Unlock everything.
A photoreal bank vault for a website header: SLCKET's own app wheel, engraved into a steel dial, spins three times and lights up as the camera walks the length of the vault. One unbroken shot, rendered in Redshift for desktop and phone.
A website header that opens like a vault.
SLCKET builds branded apps for anyone: businesses, families, friends, teams. Every SLCKET app is driven by the same proprietary wheel, and each platform gets its own skin. For the public launch of the platform, SLCKET and their agency Agodie wanted a header animation that said "unlock" before anyone read a word. Barry Creative turned the wheel into the dial of a bank vault.
- Client
- SLCKET, via Agodie
- Deliverables
- One continuous 3D shot in two cameras, 16:9 for desktop and 9:16 for phones, as hi-res and web-weight files, plus still renders of the vault for website backgrounds
- Tools
- Cinema 4D, Redshift, Fox Renderfarm; After Effects and Premiere Pro for the launch cut
- Where it runs
- The header of slcket.com, inside a launch cut with SLCKET's photography and platform skins. This page shows the 3D on its own.
Put the wheel on a bank vault.
Agodie's brief set the idea in a few lines, with a reference image of a vault corridor. Each line became a decision in the shot.
Animate SLCKET's wheel design onto a bank vault.
→ the dial is the app's own wheel, its nine category glyphs engraved into steel around the SLCKET SSpin back and forth, like the vault beginning to be opened.
→ three spins on the script's beats; each one lights the glyph channels brass, then lets them coolA futuristic look.
→ teal steel, cold strip lights, cyan underglow and warm practicals deep in the lockersPlaying on their website hero section.
→ one unbroken camera move that loops cleanly, rebuilt as its own vertical camera for phones
Their interface, engraved.
SLCKET's category icons are drawn as dot matrices, like a display. On the dial, every dot became a drilled pit in brushed steel, and the nine glyphs sit between brass-lined channels around a recessed S hub. When the dial turns, the channels and pits catch light; when it stops, the glyphs read as engraving.
One shot. No cuts.
The vault is the whole film: 401 frames of a single camera move. It starts square on, far down the corridor, drifts off axis past the locker doors so the depth reads, and lands with the dial large on the left of frame and the corridor open on the right. The three spins are timed to the three lines of SLCKET's script.
Cold steel, warm light.
The corridor is lit like a server room: strip lights overhead, cyan glow along the floor and the base of every locker, and a few warm practicals hidden behind the doors so the steel has something to reflect. The dial is the only warm thing in frame when it lights. Shallow depth of field keeps the nearest doors soft, so the eye goes down the corridor.
Built again for phones.
The phone version is not a crop of the desktop shot. It is a second camera with its own move: straight down the middle of the corridor, so the vanishing point holds the centre of a tall screen and the dial grows until it fills the width.
Finding the dial.
The first passes left the centre of the dial open: the script asked for a "double-sided mirror" that teased what lay beyond, and the style frames tried it with a photograph inside the hub. By the end of April the photography had moved to the edit and the hub became the S, so the brand sits at the centre of every frame.
Two cameras, one vault.
Review cuts went out as low-resolution renders so the timing could change cheaply; the final frames rendered on a farm in June 2025. For launch, Barry Creative also cut the shot together with SLCKET's photography and platform skins and added the sound design: vault clicks, a turning dial and the vault door. That 26-second cut is what plays on slcket.com.
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