TRANSMITTING — LOS ANGELES 34.05°N / 118.24°W
EST. 2001 // EP.0247
TRANSMITTING — LOS ANGELES 34.05°N / 118.24°W
A Los Angeles studio building hyper-realistic virtual humans, multi-modal AI avatars, cinematic virtual productions, and immersive XR — for the world's most iconic artists, estates, and institutions.
We build the pink laser.
Not the prison.
In 1981, Philip K. Dick imagined VALIS — a vast, divine intelligence transmitting knowledge into the human mind via pink laser beams, piercing a Black Iron Prison of sensory illusion to show people reality as it truly was. He was 40 years early. Today the signal he imagined is indistinguishable from the internet, from artificial intelligence, from algorithmic suggestion reaching into every brain on Earth. The prison he warned about — a world of manufactured, manipulated, deepfaked reality — is no longer a metaphor.
We named the studio VALIS because the virtual humans we build sit on exactly that line. They can deceive, or they can illuminate. They can be weapons of manipulation, or instruments of craft — extending iconic artists across time, language, and space, preserving legacy, enabling new creativity, and reshaping what a "live" performance can be in an age of avatars.
Hyper-realistic digital doubles of the world's most iconic artists, actors, and educators. Any age. Any language. Any career era. A new form of legacy preservation — and an IP holder's dream.
Cinematic, hybrid AI and game-engine driven content built for the screens and platforms of today — and the ones arriving tomorrow. From Emmy-winning documentary VR to interactive music videos.
The dynamic fusion of digital and physical. Immersive storytelling that transports audiences somewhere that did not exist ten seconds ago — and could not exist at all without us.
Organised in the same nine chapters as the Chronicle — 1988 to the present, in sequence.
Much of VALIS's current and recent work is under non-disclosure. AI Avatar productions for legacy music estates, touring artists, major entertainment IP holders, and holographic venue partners are not shown publicly.
A private showreel is available to qualified partners — broadcasters, estate holders, artist management, venue operators, brand teams, and production partners — under NDA.
VALIS has pioneered the creation of virtual artists since 2001 — two decades before "AI avatar" became a category. Our mission: to revolutionize entertainment and education by creating hyper-realistic, intelligent digital humans in partnership with the world's most important IP owners. To preserve legacy. To achieve a kind of immortality.
Academy Award nominated. Emmy winning. BAFTA winning. A creative futurist who has spent nearly four decades at the intersection of music, technology, and moving image — from Wired on Channel 4 and Factory Records FAC 211 in 1988, through CREATEC under Lord David Puttnam, to VALIS AI in 2026.
In 2001 Peter was Producer and Creative Director on Nick Cave's "Crow Jane" — an artistic collaboration with Nick Cave, revisiting a track from Murder Ballads. Widely credited as the world's first CGI music video, the animation was directed by Dominic Wright at CREATEC. Earlier, in 1998, Peter had been named Head of Production at CREATEC — the Creative Arts & Technology Centre founded by Lord David Puttnam at Ealing Studios, the bridge institution between Puttnam's National Film & Television School and its planned Ealing relocation. A €100M UK Government allocation matched by ~€100M from Microsoft, Silicon Graphics, and other tech investors built the UK's first Avatar (Synthespian) Lab — pioneering virtual humans, volumetric capture, and the face-replacement techniques that would later be known as deepfake, two decades ahead of their time.
He later co-founded Zeppotron with the team from Channel 4's The 11 O'Clock Show (including Charlie Brooker) — the company acquired by Endemol in 2006 that continued the work leading to Black Mirror. Done & Dusted hired Peter to write and produce the first televised Victoria's Secret Fashion Show on CBS — with performances from Sting and Mary J. Blige. He won a BAFTA for Best Interactive Innovation on Phoo Action with Gorillaz' Jamie Hewlett, and was Co-Producer of Waste Land — Academy Award nominated for Best Documentary, 2011. In 2012 he moved to Los Angeles and founded VALIS.
In 2014 Peter moved to New York to join SFX Entertainment as Head of SFX Studios — the content division of the global live-EDM company behind Tomorrowland and Beatport. He led VR initiatives for SFX & Tomorrowland — the world's biggest EDM festival — and produced a pioneering VR series in Ibiza with Steve Aoki, Dimitri Vegas & Like Mike, and Claptone. The Claptone collaboration led directly to the full visual identity for Claptone's subsequent "Immortal" tour.
VALIS productions include the world-first M.I.A. × Janelle Monáe holographic duet, Run The Jewels' Crown for NYT VR, Sports Illustrated Swimsuit VR — over 1 million VR headsets distributed with physical magazines, making it the most-watched VR project in history to date — Capturing Everest (Emmy), the Smithsonian American Art Museum room-scale VR experience — directed and produced by VALIS, fully funded by Intel with Framestore, XRez and 8i — Justin Timberlake's Montana for Paul Allen's MoPop, and the 2020 TIME Magazine MLK virtual production — the only virtual human ever to appear on the cover of TIME.
Current work includes confidential avatar productions with major music icons, estates, and entertainment IP holders — on display in the private showreel by request.