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Adding value to Touch3D

Touch3D is a visualisation company who creates high-quality images and animations through Computer Generated Imagery (CGI).

Touch3D specialises in architectural visualisation, including animation and product design, allowing clients to bring their designs to life with photorealistic imagery; using the exact materials, finishes and landscaping planned for the building.

Visualisation is also used to assist architects and their clients with their decision-making process, preventing expensive mistakes before the building stage.

Touch3D relies on up-to-date software and hardware to provide clients with a high-quality product, within tight deadlines.

Grant Watson started Touch3D in 2002 and from the very beginning trusted Bluegfx with their software, hardware, and support service requirements.

Initially, Matt supplied them with their first Autodesk 3ds Max software as well as iToo software’s Forest Pack Pro and V-Ray from Chaos. Twenty years on, Touch3D are still choosing to work collaboratively with Bluegfx for their IT infrastructure and support.

The Challenge

One of Touch3D’s loyal clients (Brown + Brown Architects) got in touch with them about a project that was a high-end development (Kings Cairn, Archerfield), and the brief was to provide high-quality architectural visualisations to help support a potentially contentious planning application.

It was also a large development that required visualisations for architectural design verification, facilitating client engagement and design approval, and supporting their expectations throughout the design process.

The design detailing had to be created to a very high level, including the exact proportions, material finishes, and surrounding landscaping, as well as the use of volumetric elements to help enhance atmosphere, etc.


Bluegfx provided us not only with our WS Workstation Graphics workstations and associated storage but also all our Autodesk software (3dsMax) and specialist plug-ins.

We first got in touch with Bluegfx back in 2002 when we started out, and they have always been there with the right products, knowledge, and support.


3ds Max provides us with the correct tools to interface with architect outputs, such as SketchUp files, FBX outputs from ArchiCAD and other BIM software, and allows us to convert, adapt, optimise, and evolve our visuals as quickly as possible.

The balance of hardware and software allows us to recreate detailed landscapes (Forest Pack Pro), accurately handle complex lighting models, atmospherics, and then render in a timely manner.

As a result, our clients can explore design options, i.e., compositions, material choices, lighting conditions, etc., quicker, and more realistically.


The building visualisations were very well received by Touch3D’s client, Brown & Brown, and their client. The project successfully gained planning permission and managing the client’s expectation throughout the entire process was exceeded.

In 2021 Touch3D entered the Scottish Design Awards with this project (Kings Cairn, Archerfield) and won the visualisation category.

To read more about Touch3D and their amazing work, please visit their website here.

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Can we help to optimise your workflow? Call us for a chat on +353 (0)1 526 6717 or email

F10 and the need for speed

Frustrated by inefficiencies with their file sharing, visualisation experts F10 Studios approached us for help with their networking.

F10 Studios is an award-winning, architectural visualisation studio bringing exterior and interior architectural designs to life. We’ve worked with F10 for years, supplying them with the latest in 3d design technology, so we understand their set-up and requirements.

Always happy to have an excuse to visit Brighton, our tech team headed down to F10’s studio in The Lanes, which is home to a team of 5 artists plus administrators.

The problem

F10 were experiencing a dramatic waste of studio time, mainly due to the amount of time it took to grab large 3ds Max and Photoshop files from shared storage. During very busy periods, with lots of rendering going on and all of the team accessing large amounts of data at the same time, the network would experience large bottle-necks. F10 estimated during these periods they were losing about half a day per day, split between the team.

The technical stuff

The existing specification of the set-up wasn’t good enough. The 1gb connections weren’t fast enough, the storage size was too small, and there were bottle-necks with the switch configuration.

We devised a new storage system, made up of a 2 tier QNAP NAS box.

The first tier is made up of 4 x 1TB SSD drives. With this, F10 are able to keep all the project files they are working on with the SSDs giving them rapid access.

The second tier comprises of 4 x 6TB disks on a RAID 6 (10.6TB of visible storage used to store less regular data and recently archived projects for easy and quick access). This ensures a reduced risk of data loss should any of the disks fail.

These are connected to the workstations with a couple of Netgear switches. One of these is made up entirely of 10GbE connections, maximizing the Artists’ connection back to the storage.

We also provided 10GbE NIC cards and an APC to minimise the risk of power surges.

Faster rendering

To accompany their existing WS render farm, F10 have also had a micro-modular data centre installed by Iceotope. Iceotope use innovative, fanless liquid cooling technology to enable high-speed, quiet rendering – using up very little floor space. F10’s render capacity has doubled, using less than half the space. Read the full story here.

The outcome

F10 are now regularly experiencing transfer speeds of between 400 to 700 Gb/s, and 100 to 300 Gb/s during very busy periods on the network. Opening and saving large files is much quicker and network bottle-necks have been reduced considerably.

We are really pleased with the results. With Bluegfx’s assistance we thoroughly analysed our setup and workflows to find the issues, and from that spec a great performing, solid network and storage solution that the team now enjoys pushing to the 10GbE limits.
Nick Homer, Managing Director

To read more about F10 Studios and their amazing work, please visit their website here.

Contact us

Can we help to optimise your workflow? Call us for a chat on +353 (0)1 526 6717 or email


Helping Figment turn imagination into VR

We’ve been on an exciting journey with Figment Productions.

Figment’s talented team of designers, film-makers, 3D artists and software developers produce visitor attractions and experiences, and have an impressive portfolio under their belts including Galactica – the world’s first VR rollercoaster.

As well as supplying Figment with the best in 3D design technology, from the likes of Autodesk, Adobe, Thinkbox and Chaos Group; we also provide ongoing IT and hardware consultation to aid their ever-growing studio and storage requirements.

Figment’s recent IT challenges were threefold. They needed to improve render times, remove bottle-necks in their network infrastructure, and due to working with super high resolution files for VR, the compositing team needed lightning fast access to networked storage.

Our Support

When a customer has multiple concerns, as Figment did, we’ll conduct a full review of their set-up so we can see the whole picture. At Figment, we held a series of meetings with their CGI team to scope out their rendering issues, and it became clear that we needed to re-think the network infrastructure by changing routers, switches and the domain controller.

To avoid breaks in production we took a staged approach to reconfiguring the network. The new setup is comprised of a Synology NAS of 40GbE and 20GbE, with SSD caching connection to the compositing team. We also installed a Synology NAS sync system to give quicker access to their daily data at the new HQ, and a larger Synology storage pool for additional backup and disaster recovery.

For ongoing support Figment benefit from having our Silver Support package, which means they get a direct line to our technical support team and discounted engineer rates (amongst other things).

“We’ve worked with the team at Bluegfx for many years and they know our IT infrastructure inside out. Their service level is unsurpassed, and they’re experts in the software and technology required to produce great VR.“

Simon Reveley, CEO, Figment Productions

To read more about Figment Productions and their VR wizardry, please visit their website here.

Contact details

Can we help to optimise your workflow? Call us for a chat on +353 (0)1 526 6717 or email

You can also check out the support packages we have available here.

Building a better IT network for Cooper Baillie

How we helped the architectural design company, Cooper Baillie by delivering an IT infrastructure solution.

They got in touch when they needed to purchase Autodesk products AutoCAD and 3ds Max, but soon discovered we could offer a whole lot more.

Unlike generic software vendors we have specialist knowledge in 3D design, which means a better understanding of what pipeline and infrastructure requirements a practice like Cooper Baillie might need. Initial conversations about purchasing software turned into bigger conversations about the potential for a better network infrastructure to improve the current workflow and rendering system. 

We’re proud that Cooper Baillie recognised the added value we could offer with our specialist knowledge, and decided to end their existing IT arrangement and start working with us. They now receive our Silver Support Service which means they benefit from having initial set-up support, a dedicated telephone support line, remote dial-in when required, discounted engineer rates and more.

So far, Cooper Baillie have been kitted out with Autodesk AutoCAD and 3ds Max, HP Z2 mini G3s, a high-end 3D modelling and animation Workstation Specialist system, and some slightly less powerful WS machines for running AutoCAD. They’ve also transferred their O365 subscription to us as we’re Microsoft Office 365 certified so know the ins and outs of Office.

We’re now into Phase 2 of the project. This involves integrating new Synology NAS and switch compatible with 10GbE for a cost-effective, future-proofed network that will further reduce production workflow time and boost productivity.

From Cooper Baillie’s perspective we want an IT support that we can have direct communications, without the layers of hierarchy and unnecessary jargon. When investing in the future you need to feel confident that the advice is for the right reasons – to understand our needs and help facilitate our goals and deliverables as a business. Bluegfx have done this, working collaboratively and enabling us to build the necessary infrastructure for the company to offer a better service to our own clients. This process is evolving over time, but we are already feeling the short term benefits delivered by Matt and his team.

Ben Baillie, Director, Cooper Baillie

It’s great to be working so closely with Cooper Baillie. From our early conversations, we soon discovered that we could help with much more than supplying software and hardware, and deliver a complete IT infrastructure solution. Our desire is to continue to develop our partnership with the team at Cooper Baillie and help them grow their business whilst we manage all their IT needs; so that both companies can focus on what they do best.

Matt Allen, MD, Bluegfx

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How Autodesk helps Jellyfish Pictures stay ahead of the pack

Jellyfish Pictures has evolved from a two-man band back in 2001 into one of the most respected visual effects and animation studios in the world. It employs more than 300 people and has a track record of working on feature films like ‘Star Wars: The Last Jedi’, and animated series like ‘Dennis and Gnasher: Unleashed’. It has won a string of EMMY, BAFTA and VES awards for its work.

Despite its exciting past, Jellyfish has its sights set firmly on the future. The business is growing fast. It now runs one studio in Sheffield and three in London, including a new purpose-built state-of-the-art facility in Brixton. To support its growth and ongoing success, Jellyfish needs to be original, innovative and extremely high-end – and so its choice of 3D modelling, animation and rendering software is crucial. In line with this, it has based its whole approach around solutions from Autodesk, long established as a global leader in media and entertainment software.

Jellyfish uses multiple different Autodesk software solutions to carry out its visual effects work. It uses Autodesk Maya for 3D modelling animation. Typically, that involves character generation, which includes modelling the character and then lighting and animating that model. Jellyfish currently has between 80-100 licences of Maya.

It uses Autodesk Arnold for rendering, including the final effects, finished lighting, and look and feel. Jellyfish has also deployed Autodesk’s 3D character animation software, MotionBuilder, which it uses for virtual cinematography, motion capture, and traditional keyframe animation and Mudbox for digital painting and sculpting alongside other digital content creation applications. The last piece in the jigsaw is Autodesk Shotgun, a digital asset management tool that everyone from producers to art directors, CEOs and animators at Jellyfish can use for storing assets and getting sign off and approval. Jellyfish has around 300 licences of Shotgun today.

A rich and varied portfolio

Jeremy Smith, chief technology officer, Jellyfish Studios, said: “At Jellyfish, we do very varied visual effects work, taking in everything from the latest Star Wars movies to Watchmen for HBO to animated television series for children and motion graphics work for large corporates, so we need software that delivers a potent combination of versatility and flexibility. The Autodesk visual effects software supported by Blue Graphics (Bluegfx) fits the bill in this respect.

All three solutions are supplied to Jellyfish and supported by Autodesk reseller, Bluegfx, which also delivers consultancy on how Jellyfish can optimise its use of the software. “We have been very impressed with the service we have received from Bluegfx,” added Smith. “They are very consultative and relationship-driven. They take the pain away from everyday administration and have had a key role to play in helping us get the answers we need when we have queries about the software.”     

Margins are tight in the visual effects and animation industries, so for a company like Jellyfish, software solutions do not only have to support creativity, they also need to deliver speed and performance improvements that translate to the bottom line. The Autodesk software solutions and Maya, in particular, drive productivity by enabling designers to create visual effects more quickly and efficiently.

An industry standard

Also, key is the fact that the Autodesk software solutions are widely used across the industry. Jellyfish is expanding fast. It has taken on many new designers on a permanent basis but also brought in freelancers as and when required. Autodesk tools are widely used across the industry and Maya in particular has rapidly established itself as an industry standard with a vast base of freelancers trained and proficient on it. That means Jellyfish does not have to spend time getting new designers up and running on the software and can get them up to speed quickly.

Jellyfish has also with the help of Bluegfx taken advantage of Autodesk’s collection suites which consist of bundled packages of key software, typically featuring multiple licences of Maya and Arnold, which are therefore more cost-effective and convenient to bring into the organisation.

Jellyfish has benefited from getting access to the resource pool around specific Autodesk solutions. It has worked closely with the Arnold team at Autodesk, for example, to get high-speed graphics card (GPU) rendering working in conjunction with more standard central processing unit (CPU) rendering. It has also been impressed with the way that Maya integrates with other aspects of the pipeline.

Thanks to the work done by Bluegfx, Jellyfish has a good understanding of how the software is evolving and what new functionality is likely to come on stream over time. Pixar’s Universal Scene Description also known as USD, is taking the 3D world by storm. Autodesk Maya is already using USD and its use within Maya is likely to evolve further over time. 

Full speed ahead

Looking to the future, Jellyfish is optimistic that Autodesk will continue to focus on ease of integration. “It is great for us that Autodesk has introduced a new Substance 2.0 plug-in in its 2020 release of Maya, for example,” said Smith. “We are delighted that Autodesk is recognising the importance of making these kinds of connections and helping to build that bridge between the independent software vendors (ISVs).

“Moreover, while the latest version of Arnold with Arnold GPU is already simplifying how users create and iterate content, the speed of iteration will accelerate further thanks to the integration with Maya.”      

Today, with more content than ever before being commissioned and created, the future for Jellyfish looks increasingly busy and bright. In addition to the Hollywood movies and television animation work coming up, Jellyfish is also creating more of its own high-quality content. This is no time for Jellyfish to rest on its laurels and as it moves forward, Autodesk digital content creation and rendering tools are likely to play a vital role in its future vision.

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Call us on +353 (0)1 526 6717 or email

How Autodesk software helps V1 make architectural visualisations come to life

Visualisation One Limited (V1) is a specialist architectural 3D visualisation, animation and multimedia design company with more than 30 employees, all with either an architectural or design background and offices in Chester and in London. Working on global real estate projects, it combines visual artistry with innovative technologies to create architectural CGI, visualisation and immersive environments.

V1 leverages multiple Autodesk software solutions to carry out its visual effects work. It primarily uses Autodesk® 3ds Max®, a 3D computer graphics program for making 3D animations, models, games and images. V1 uses it as its core modelling software and has a total of nearly 25 seats of the solution in place.

It makes use of 3ds Max for building everything from large-scale external architectural models right down to highly detailed dressing items in interiors. In addition to 3ds Max, V1 also uses AutoCAD LT, a precision 2D drafting and documentation software solution, and Autodesk® Revit® building information modelling software.

V1 uses the software solutions to help with a wide range of its work, which is focused on architectural visualisation and includes renderings of building designs for developers and architects. It also uses them for a range of other interior and exterior designs and animations, including fly-throughs and walk-throughs.

John Crighton, director V1, added: “We primarily use 3ds Max to model all the content from a complex sculpture to soft fabrics, including cushions with stitching – before it is passed to our rendering software package to add in all the relevant physical attributes and details. The two tools knit together well.”

Reaping the Rewards

Autodesk 3ds Max has become a mainstay of the visualisation market over the past decade or so. It has broad recognition across the architectural visualisation sector where it is now widely seen as an industry standard.

According to Crighton: “We have been using Autodesk 3ds Max since the company started 20 years ago and we have always found it to be a fluid, intuitive and versatile tool. It suits all purposes. We have never found any other package that comes close to it in terms of modelling. We have never needed to look for any other modelling software because we have always found 3ds Max so effective and so robust”.

“It is quick and it has various plug-ins and scripts that we use to speed up our workflow,” he continued. “It has become part and parcel of the way we do things as a company. We like to promote from within, so we train up designers and through their time at the company using 3ds Max we make sure they understand how to use all the key features and benefits. We also appreciate the way the software integrates easily and well with V1’s preferred computer-generated imagery rendering software. The two work very well together and that is key for us.”

Invaluable help and assistance

All three Autodesk software solutions are supplied to V1 and supported by Autodesk reseller, Bluegfx. V1 has been working with Bluegfx for around a decade now and has a maintenance contract with the reseller, which also incorporates service level agreements (SLAs). At the outset of the relationship, Bluegfx just supported V1 with software, but this has evolved over time to also encompass hardware, infrastructure, storage, backup and networking. V1 has come to rely on Bluegfx and is in regular contact when it has questions or issues with either hardware or software.

“Bluegfx are always on hand to help out. We have always had a good working relationship with them,” added Crighton. “They supply us with the software we need when we need it and give us all the support we require, eliminating any issues we might have and enabling us, in turn, to focus on the creative aspect of our work.”

Looking ahead

In the immediate future, V1 has no plans to change the way it uses the Autodesk software. It will take advantage of any upgrades that improve speed, quality or productivity. It is looking at other areas where it can offer value to clients like virtual reality, for example, but as Crighton states:

“Nothing will disrupt our usage of Autodesk 3ds Max.”

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Please call us on +353 (0)1 526 6717 or email

ZTEdge’s key supporting role with Jellyfish Pictures


Jellyfish Pictures is an award-winning visual effect and computer-generated animation studio that works with some of the most prominent content creators in the world, including Lucas Films, HBO, Netflix, and DreamWorks, as well as producing original animated children’s content.

They are also among the most technology-forward organizations in the business, having transitioned to fully virtual, cloud-based studio infrastructure in 2019. Jellyfish Pictures continues to be an entertainment industry trendsetter in adopting technologies that streamline operations and add business value.

The Challenge

As a Trusted Partner Network (TPN) vendor, Jellyfish Pictures operates in strict compliance with MPA Content Security Program Best Practices Guidelines, which are designed to protect content during production, post-production, marketing and distribution. Unauthorised, pre-release exposure of images or scenes can result in millions of dollars of losses for content owners and distributors.

“One of the requirements of the MPA is that there is no general outbound internet access allowed,” said Jeremy Smith. Jellyfish Pictures Chief Technology Officer. “That is simply to stop things like data leaks and uploading content to places like Youtube. All it would take is one clip or one frame of a film, and the security is then compromised. That’s very much on our radar.”

Until a few years ago, this requirement meant that Jellyfish Pictures artists could not receive or send emails or use the internet in any way as they worked. This limitation was extremely frustrating for users. And while it accomplished the goal of protecting content, it also took a significant productivity toll.

The Remote Browser Isolation Update

More recently, the MPA updated its security best practice guidelines to permit internet and webmail access via remote browser isolation (RBI). RBI airgaps studio workstations from the internet by creating a virtual web browser in an isolated container in the cloud or on a remote server, and sending only safe rendering data to the user endpoint. In effect, it is equivalent to using a different device to access the internet – only on the same workstation.

Critically for creative content production studios like Jellyfish Pictures, RBI solutions also enable policy-based control of which sites can be accessed, what files (if any) can be shared via the web or email, and under which conditions browser functions such as printing, copying and pasting can – or cannot — be used. This enables TPN vendors to eliminate risk of content exfiltration via email or, for instance, cloud storage or social media sites.

Policies may be individualized or category-based, enabling greater privileges for the few individuals trusted to transfer content to and from Jellyfish customers and partners. In addition to safeguarding valuable content, RBI protects studio endpoints and networks from malware, viruses and ransomware that are spread via the web. No active code from the internet ever reaches user endpoints. Any malicious content, such as data-stealing malware or ransomware, within websites that users visit remains in the isolated browser and is destroyed once the user stops interacting with the site.

Two Steps Forward, One Step Back

Jellyfish Pictures seized the opportunity to increase productivity by enabling users to access email and visit websites that they need. They implemented an RBI solution that was, at the time, the choice of many TPN vendors.

Initially, users were extremely pleased with their newly granted ability to use email and the web from their workstations. Within a short time, however, many grew frustrated with the quality of the browsing experience.

“We have used several different products to try to get around the limitations on internet use, but there were always performance-level issues. For example, the audio did not work correctly, or when you were scrolling, the frame rate was really jagged. Users basically felt like they were being held back as they browsed. That’s what we needed to solve.”

Jeremy Smith, Chief Technology Officer, Jellyfish Pictures


As the moving force behind Jellyfish Picture’s technology-forward approach, Jeremy Smith continued researching alternative RBI solutions in hopes of finding a higher-performance solution – which is how ZTEdge Web Isolation came to his attention.

After hearing about the solution and seeing a demo, he quickly decided that a proof of concept (POC) was in order. “The POC went very well,” he said. “The ability to provide an almost native experience, from a performance level, to make it transparent to the end-userwas our requirement. We did some performance testing and got to see exactly how ZTEdge would work. And it held up well.”

Ericom support engineers worked closely with Jellyfish to ensure that the integration was seamless and rigorous TPN requirements were met. “Working with the team has been great,” Jeremy Smith said. “They’ve been really responsive.”

ZTEdge Web Isolation is easy to deploy, since, in contrast to many other RBI solutions, it is clientless, with no agents to install on individual workstations. Since the Jellyfish Pictures workforce tends to expand and contract based on the needs of each project, the ability to deploy ZTEdge without installing anything on individual users’ workstations is particularly attractive. They found policies simple to set up and the solution to be extremely usable in general.

Users, too, were quick to notice the improved browsing experience. And as visual media professionals, they particularly appreciate the fact that ZTEdge Web Isolation allows each website to be streamed at the level that is most suitable.


As a technologically sophisticated TPN audited vendor, Jellyfish Pictures was an early adopter of browser isolation to enable its artists to access email and the web while safeguarding valuable IT and content from exfiltration and exposure. Knowing the RBI space well put them in a unique position to understand the key differences between Ericom’s solution and the rest of the market.

“When users are on the workstations that we provision, their internet access is very strictly controlled. The IP and data on those workstations are the crown jewels and they need to be safely guarded. What can get in or out is very tightly regulated by us, on a practical basis. That’s where ZTEdge comes in, to help us meet our compliance requirements. ZTEdge is a very high-performance solution that enables browsing to feel native. It makes users’ lives better. If people are looking for a high-performance solution in this space, Ericom ticks the boxes.”

Jeremy Smith, Chief Technology Officer, Jellyfish Pictures

Talk to us if you’d like to learn more or book a demo.

Contact us on +353 (0)1 526 6717 or email

Bluegfx: One stop for The CharacterShop

The CharacterShop are an award-winning, character-mad team of artists who specialise in animation, content creation and digital effects production for TV series, commercials, and a whole lot more.

We’re proud to have been a part of their journey having worked with them for over 10 years, supplying them with the specialist 3D production technology required to bring their characters to life, as well as essential support with their IT infrastructure.

Going for gold

The CharacterShop have a Gold Service Level Agreement with Bluegfx which means they received a complementary site audit from our tech team who fully understand the workflow of a 3D production studio like theirs. Following this we set up the IT for their entire animation pipeline so they could manage their data quickly and efficiently. This included all internal equipment such as switches, networking, rendering and Synology storage.

We also supply The CharacterShop with 3D modelling and animation software 3DS Max, CPU and GPU workstations and graphic cards, render nodes and Hair: Farm plug-in.

The switch to Redshift

Redshift rendering is hot right now and The CharacterShop recently made the shift to the GPU renderer for faster rendering times. We discussed Redshift with them as an alternative GPU-renderer to use with Hair: Farm, and following a period of testing and evaluation with fellow character animators’ Blue Zoo they were so impressed they decided to make the jump.

We had heard and read a lot about Redshift and decided to get in touch with Bluegfx for some advice, particularly as we had a new project in the pipeline requiring fur that was proving problematic with our previous rendering set-up. To help us make an informed decision Bluegfx put us in touch with Blue Zoo who had already made the switch to Redshift. It was really helpful and reassuring to discuss the move with fellow character animators and after a few initial tests we decided to take the plunge.

The results have been amazing, we estimate that render times have decreased by 4 to 5 times, but in addition to that the rendering is more consistent. Excessive rendering times for tasks such as ray tracing, sub surface scattering and of course fur lead to us avoiding those features historically, where as they can now be confidently tackled due to the improved rendering times allowing for improved creativity and its enabling us to really push the software’s capabilities.

The support offered by Redshift has also been great, they are very supportive, friendly and helpful, making the whole process of switching our rendering software over very straightforward and we are now solely using Redshift for all our rendering.

The only consideration is the initial software and hardware investment but with the increase in rendering capability and the fact that one Redshift license can also support more than one graphics card on each computer, we know the change over will quickly pay for itself

Mark Vale, MD & Producer, The CharacterShop.

Furry friends

With their shiny new, efficient workflow and IT set-up, The CharacterShop have been working on the new Bush Baby World series, which stars the lovable, and very furry Bush Babies and their magical friends in photo realistic CGI. The first webisodes will be released in the summer.

Why not check out some of their other work on The Character Shop’s portfolio at

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