From New Zealand to California, This Animation Powerhouse Is Taking Over the World
Latvian animation studio Panic is a shining example of how creativity, adaptability, and collaboration can propel a small team onto the global stage. Led by CEO and executive producer Rita Alika Šteimane, the studio has spent the past decade crafting animated campaigns for brands in over 30 countries, bridging cultural gaps by harnessing what the entire industry loves to talk about – authenticity. Except, they’re actually doing it right.
From experimenting with diverse animation styles, to cultivating an international team and adapting to animation trends like tactile aesthetics, interactive storytelling and mixed media, Panic knows a thing or two about what it takes to stay ahead. The studio’s creative process is pretty unique, in that it doesn’t have a single approach to animation, and that it knows flexibility is king in today’s environment – leading to campaigns that feel both local, and universal. The team even seems to know how to address gen z’ notorious crave for relatability, but still keeps in line with brands’ ambitions to go “even bolder” when it comes to animated storytelling. What are the secrets of balancing it all?
This Riga-based powerhouse has continued to defy limitations, and today, in practice it is far from ‘small’ in the world of animation. LBB’s Zoe Antonov sat down for a chat with Rita to find out more about Panic’s innovative business model, and how it stays ahead of the curve.
LBB> The production industry is no stranger to change, and especially as of late, it's jumping through trends and business models by the day. What is the key to staying relevant in such a dynamic environment?
Rita> The evolution of animated commercials is wild. The lines between what’s ‘content’ and what’s ‘marketing’ are blurred, and things are moving fast. For us as an animation studio, this is the good stuff – pushing boundaries and experimenting with new ideas every day.
Brands are hungry for new visual styles and more compelling ways to tell their stories. The digital space is saturated with content, so we’re not just competing with other ads – we’re fighting for attention against everything else that people consume online. It’s a challenge, but also an opportunity to break through by staying nimble and inventive.
For a smaller studio like ours, adaptability is everything. The secret? It’s not about sticking to what we know, but focusing on the brand’s unique needs and thinking creatively from there. We don’t offer just what’s in our toolkit – we dive deep into the project, experiment with new animation styles, and build a team that fits the project’s vibe and vision.
This approach allows us to create something that feels fresh every time, and we stay focused on what the brand needs rather than being limited by what’s easiest to execute. It’s about crafting something that stands out and resonates – keeping things real while still being creatively ambitious
LBB> And what are some newly emerging trends in animated commercials that you've noticed? Likewise, what do you see coming as the next huge thing in the near future?
Rita> One trend we’re seeing is a return to getting crafty – brands are leaning into handmade, tactile aesthetics that feel raw and real. There’s also a serious comeback for ‘cartoony’ content. Animated characters are everywhere again because they’re fun, relatable, and cut through the noise.
Mixing media is also hot right now. You’ve got 2D, 3D, stop-motion, and live-action all mashed together, creating something that grabs attention and feels fresh. It’s all about blending styles in unexpected ways to give people something they haven’t seen before.
Another shift? Short, snackable stories are dominating social platforms. But what’s cool is how brands are also backing that up with longer content that gives depth and context to those quick hits.
Everyone’s trying to escape the cookie-cutter look that comes from following the same trends and formulas.
As for what’s next, I think we’re going to see brands get even bolder. It won’t be enough just to watch something – audiences will want to interact with it, shape it, and engage in ways that feel more personal and immersive.
LBB> Talk to us a little bit about Panic’s business model and how it's upheld. How does it help you push creative boundaries?
Rita> At Panic, we don’t stick to a single style. Instead, we have a flexible approach that lets us go wherever the project takes us. When we start working with a creative agency or brand, we focus entirely on its needs. We don’t come in with any set idea of what the final product will look like – that’s the fun part. Every project is a blank canvas.
If you look at our showreel, you’ll see the variety in the work we do. For a smaller studio, that kind of range isn’t common, but that’s what makes us different. Our team comes from all sorts of creative backgrounds – advertising agencies, digital studios, even marketing teams from the client side – so we’re used to thinking on our feet and solving problems in fresh ways. It’s this mindset that lets us stretch creatively on every project.
We’re not just about pretty visuals – we dig deep into the strategy, messaging, and goals to make sure everything we produce hits the mark. We love getting in the trenches with agency partners, questioning the creative, and figuring out how we can make it better.
A great example of this is our recent campaign, ‘Pet is Not a Gift’, which just won Bronze at the Golden Drum Awards. The idea was to raise awareness about the dangers of giving pets as gifts during the holidays. We teamed up with the agency to build out a story that would make people stop and really think. We went with a hand-drawn, postcard-like style that starts with a whimsical holiday vibe but quickly turns dark. It was all about creating a reaction, and the story dictated everything – the visual style, the pacing, everything. And it paid off.
Our business model is simple: we adapt to whatever the project needs. We experiment with different styles, put together the best team for the job, and stay focused on pushing the creative boundaries. That’s how we make sure each piece of work feels fresh and stands out.
LBB> Panic is a small studio, but its impact is international. What are some challenges that come with size, and how do you overcome them when it comes to staying relevant, especially on a global scale like you do?
Rita> We’re lucky to have worked with agencies and brands from more than 30 countries. Seeing our work live on the other side of the world, whether it’s in New Zealand or along the California coast, is both humbling and exciting. But, yeah, being a smaller studio does come with its own set of challenges, especially when you’re trying to make content resonate globally.
One of the biggest hurdles is making sure our stories translate well across different regions. Brands want their content to feel local, so we really dive into researching the culture, daily life, and the vibe of each region. We don’t just guess, we work closely with clients to crack the code. Whenever possible, we bring in local illustrators or animators to add that extra layer of authenticity and make sure everything feels on point.
Take our recent campaign with TBWA\New Zealand for Healtheries, for example. Healtheries is New Zealand’s biggest health and wellness brand, so it was crucial that the campaign felt distinctly Kiwi. We teamed up with its creative team and did our homework – studying the local lifestyle, environment, even down to the fashion and leisure activities. The final piece was packed with Easter eggs, and people really connected with our cheeky character, Riley. He was such a hit – there’s talk of him making a comeback!
Even though we still think of ourselves as a small studio – just 15 people in-house – our project teams can grow to 25 or even 35, depending on the scope. Over a year, we’re working with around 80 different collaborators. So, we’re small but not really ‘small’ anymore, and that’s something we’ve had to remind ourselves of.
The time zone thing can be tricky, though. Working with clients across the globe means sometimes embracing 24/7 production, but we’ve found our groove. It helps that our clients are great about adapting with us to make things run smoothly.
LBB> On top of the dynamic production landscape, we have gen z and now gen alpha emerging as the target audiences of the century. How do you address them – their humour, their brand trust, what they want to see from your clients, etc.?
Rita> Whenever I chat with our friends in creative agencies, I like to ask how they’re approaching gen z. It seems like we’re all still figuring out how to make commercials that actually resonate with them and feel real. Younger audiences are sharp when it comes to spotting inauthenticity, so the challenge is making content that feels genuine and connects on their level.
We’ve had a few wins working on projects aimed directly at this demographic, and one that stands out is our campaign with Truth Initiative, called ‘Word to Quit By’. The goal was to help young people quit smoking or vaping. We knew that to reach gen z, we couldn’t be preachy or overly polished, so we kept it simple and relatable.
The idea was simple: motivational phrases, almost like the posters you’d see on someone’s bedroom wall. But we didn’t stop there – we brought these words to life through animation, reflecting the real emotions people go through when trying to quit: stress, anxiety, self-doubt, but also those moments of progress and victory. We used those feelings as visual metaphors, and that’s what made it work. Gen z could see themselves in it – they didn’t feel like we were just telling them what to do, but rather that we understood what they were feeling.
LBB> Is there a worry that comes with the constant strive towards staying relevant? How do you tackle that?
Rita> Definitely. The pressure to stay relevant is real, especially with how fast things move. But instead of letting it stress us out, we try to see it as an ongoing challenge that keeps us sharp and creative.
We tackle it by staying curious. We keep an eye on industry trends, experiment with new techniques, and encourage our team to constantly bring fresh ideas to the table. Our approach is about being open-minded and willing to try new things, even if it pushes us out of our comfort zone. We also listen closely to our clients and their audiences, making sure we’re in tune with what’s actually resonating out there.
At the end of the day, it’s all about telling authentic stories and building meaningful connections. As long as we’re doing that – staying true to our creative vision while evolving with the times – we believe we’ll stay relevant, no matter how fast the world moves .
LBB> We touched on Panic's international reputation, but can we talk a little more about how the studio spreads its love around the world? How do you address international audiences, and what in your approach helps you stay top of mind in so many countries?
Rita> Honestly, it’s all about the relationships we’ve built over the years. After 10 years in the business, I feel like we’ve got friends in every corner of the world. That’s really the heart of how Panic operates globally – we genuinely care about the people we work with.
Advertising and production can be super demanding. Tight timelines, budget pressures, and high creative expectations are part of the game. But instead of letting that stress take over, we focus on making the process as smooth and enjoyable as possible. We keep things calm, human, and collaborative. It’s about creating a positive vibe for everyone involved, so we all feel good about getting to the finish line. That’s how Panic spreads love – through peace of mind.
Even though we’re a small studio, those relationships and the trust we’ve built keep us top of mind around the world. It’s how we work with people, how we listen, and how we make sure every project feels like a true team effort. That’s what keeps us connected.
