Show trailer. Motion design and art direction for the international tour promo.
We make it look as good as it sounds.
Cover art, motion, a canvas, the announcement, clips for every platform, the recap. Together they're the first thing anyone meets, the version of a release people see long before they press play.
Most artists know this. Almost none have the time, the tools or the team to build it.
That's the part we do.
We are an independent studio helping artists, labels and promoters bring releases and show campaigns to life, so you can get back to the music.
Major Lazer·Justice·Daft Punk·U2·Elton John·Calvin Harris·Tame Impala·Lenny Kravitz·Imagine Dragons·The Lumineers·Mumford & Sons·The Guess Who·Eric Clapton·STS9·Paul Oakenfold·Butcher Brown·Charli XCX·The Black Keys·Hot Chip·Kaytranada·Mac DeMarco·Claptone·Ricardo Villalobos·Neon Indian·Soulection·Bedouin·Cuco·Miami Horror·Sean Paul·Clean Bandit·Soundcloud·Flying Lotus·Billy Joel·And many more
and for labels & platforms like
From one-off promo assets to full creative concepts. Covers, motion teasers, visualisers, carousels, cut for every platform so nothing gets cropped, stretched or skipped because it didn't fit the feed.
Your single, EP or album gets a visual world instead of a cover and three posts. Artwork, motion and content that connect from announcement to release day, planned early, delivered before you need it.
Performance clips, teasers, trailers, recaps and behind-the-scenes. Shot, edited and finished to match the campaign. That's the difference between content that fills the feed and content that does the music justice.
It starts with the artwork the whole show hangs on: the master graphic that sets the tone before a single date goes out. Then everything the announcement cycle needs. We know the order because we used to run this calendar ourselves, and we know what a flyer has to do to move tickets.
The look that stays the same while the music changes. Type, colour, logo and the rules that hold them together, so your next release or show doesn't start from zero.
Think of us as your creative partner
Most artists don't need a project. They need someone who's already there when the next thing drops. On a monthly retainer we stop being a supplier and become your creative partner. We learn the world, we keep it consistent, and every release builds on the last one. No scoping calls, no quotes, no chasing freelancers between releases.
Design, motion and video across the whole month, in every format you need.
You're not in a queue behind one-off projects.
One conversation. We handle the production and the people.
We shape a clear visual direction before anything gets made. Get this right early and everything after it falls into place.
We handle the heavy lifting across design, motion and video. You stay focused on the music, we take care of the rest.
Everything you need, in every format, without having to lift a finger. Ready to use, ready on time.
SuperhumanⓈ is an independent creative studio based in Guadalajara, México, born at the intersection of design, music and visual culture. We work with artists, labels, festivals, clubs and promoters around the world.
But we didn't start as a studio. We started as promoters. For a decade we booked, produced and filled rooms across México, and made every piece of artwork those shows needed along the way.
Justice. Hot Chip. Tame Impala. Soulection. Kaytranada. Mac DeMarco. Miami Horror. And many, many more.
That's where our approach comes from. We don't just make things look good; we make them work. Every asset has a job: sell the ticket, drive the stream, grow the room. Fifteen years on both sides of the stage is how we know which job it is.
The studio is led by Carlos Pacheco, a Mexican designer and creative entrepreneur with over a decade of experience in the scene. His work has been part of projects connected to Justice, Daft Punk, U2, Elton John, Calvin Harris, Tame Impala, Lenny Kravitz, Imagine Dragons, Charli XCX, The Black Keys, Kaytranada, Hot Chip, Bedouin, Cuco and Soulection, among many others.
SuperhumanⓈ is flexible. Sometimes it's one human, sometimes it's many. But it's always crafted with intention, aesthetic and high standards.
No. We work with artists at every stage, from a first single to a festival headliner. What matters is that you care how it looks. Some of the work we are proudest of was made for artists nobody had heard of yet.
Guadalajara, México. The studio runs remotely and most of what we make is delivered to artists, labels and promoters outside México.
Yes. We work in English and Spanish, across time zones, and we are used to delivering to teams we have never met in person. Projects run over whatever your team already uses: WhatsApp, email, Slack, a shared board.
Either. Plenty of people come to us for a single cover, one visualiser or one flyer. Others hand us the whole release. The monthly retainer exists for the artists who want us there every time something drops, but nothing is compulsory.
We handle everything that gets posted: the concepts, the artwork, the motion, the video, cut for every platform so nothing arrives stretched or cropped. What we do not do is community management, so we will not be replying to your comments and DMs. If someone on your side already does that, we hand over finished assets and they never have to chase us for them.
We have. Meta and Google campaigns were part of what we delivered on projects like Juan Pablo Contreras and Aperol Día de Campo. Today our focus is the creative: we build the assets a campaign runs on, in every format and ratio a media buyer will ask for, and we work alongside whoever manages the spend. If you also need someone to run it, tell us and we will bring the right person in.
That is where we live and where we are strongest, because we spent a decade on the other side of it, booking and promoting shows. We have taken work outside music when the brief was a good fit, so it is always worth asking.
SuperhumanⓈ is flexible. Sometimes it is one human, sometimes it is many. Carlos Pacheco directs every project, and we scale up with a trusted network of designers, animators and editors depending on what the job needs. You always talk to one person.
You get an agreed volume of design, motion and video every month, in every format you need, with priority turnaround. No scoping calls, no quotes, no chasing freelancers between releases. Most artists send us what is coming up and we produce against it.
A single asset is usually days, not weeks. A full release campaign works better with a few weeks of runway, because the planning is what makes it feel like one thing instead of five separate posts. On a retainer you are never in a queue behind one off projects.
Yes, where it earns its place. It is one of the tools we are strongest with and it lets us make things that would otherwise be out of budget. It never replaces the direction, and we will always tell you what was made with it.
The music, the dates and whatever references you already like. If you have brand guidelines we work inside them. If you do not, we can build them.
You do. Everything we deliver is yours to use however you need. We only ask to show it in our portfolio, and we hold off while anything is still under embargo.
Project work is quoted per brief. Retainers are a flat monthly fee based on volume. Either way you get the number before anything starts, and it does not move once we agree on it.
Tell us what's coming up. We reply the same day.
Show trailer. Motion design and art direction for the international tour promo.
Album loop and visual identity produced at RAD for the Guadalajara date.
Official visualizer. Animated artwork built to live on every platform.
Visualizer and motion system for the legacy catalogue campaign.
YouTube visuals and motion assets for the release campaign.
Animated tracklist and rollout assets for the album announcement.
Social content and animated artwork for the campaign.
Show promo and motion assets for the announcement cycle.
Based in MX · Working worldwide