3D animation and VFX, built in one pipeline

3D product animation puts the render in motion — turntables, exploded assemblies, liquid and cloth simulation, full CGI commercials and VFX integrated into live footage. It runs on the same models and lighting as the stills, so a campaign's film and its packshots come out of one build instead of two.

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What we animate

Product films that hold a close-up for ten seconds without falling apart. Turntables and hero rotations for launch pages. Exploded assemblies and cutaways that show how something is made. Simulation work — liquid, cloth, soft bodies, particles — where the physics is the shot. Character animation for brand films that need a face rather than a product. And VFX on live plates: tracking, cleanup, CG elements integrated into footage, and the grade that ties it together.

Why the still and the film should share a pipeline

Splitting modelling, lighting and compositing across separate suppliers is where 3D projects lose both their look and their schedule — the render vendor's bottle and the animation vendor's bottle are never quite the same bottle, and nobody notices until the film and the product page sit next to each other. Running it in one place means the lighting rig that sold the concept in the style frame is the rig that renders the master, and the model in the hero film is the model in the packshot.

One build, a campaign's worth of angles

The expensive part of 3D is the asset, not the frame. Once a product is modelled, lit and shaded, the marginal cost of another angle, another length or another aspect ratio is close to nothing.

  • Hero film at up to 4K, plus every cutdown and ratio the channels need
  • Stills pulled from the animation at print resolution
  • Turntables and alternate angles from assets already built
  • Silent and captioned versions, because feeds and decks need different things
  • Alpha-channel elements your editors can drop into other edits

VFX on live footage

Where a shoot already happened and something has to be added, removed or fixed: camera and object tracking, rig and wire removal, cleanup, CG elements matched into the plate's own lighting, and compositing through to the final grade. Send the footage and a description of what needs to happen — plates are quoted per shot, because one difficult shot and ten easy ones are not the same job.

How a film gets made

The order exists so the cheap decisions happen before the expensive ones. Nothing is rendered until the look is agreed on a frame that costs almost nothing to change.

  • Brief, reference and a shot list
  • Storyboard or animatic — timing agreed before anything is built
  • Modelling and look development
  • Layout, animation and simulation
  • Lighting, render, comp and grade
  • Delivery in every master and cutdown the campaign needs

Who this is for

  • Beverage & CPG
  • Beauty & fragrance
  • Automotive
  • Consumer electronics
  • Music video
  • Brand commercials
  • Character & mascot

Questions

How long does a 3D product animation take?

A fifteen to thirty second hero animation typically runs four to six weeks, and most of that is modelling and look development rather than animation. Once the asset exists, further angles, lengths and cutdowns are dramatically faster — often days.

Can you animate a product you have already rendered for us?

Yes, and it is much cheaper than starting again. The model, materials and lighting are already built and signed off, so an animation off an existing render project skips straight to layout.

Do you do VFX on live-action footage?

Yes — tracking, cleanup, CG elements integrated into plates, and the grade to tie it together. Send the footage and a description of what needs to happen and it gets quoted per shot.

What resolution and formats do you deliver?

Up to 4K masters, plus every cutdown and aspect ratio the campaign needs — 16:9, 9:16, 1:1, 4:5. ProRes for editorial, H.264 for review and web, and alpha-channel elements if your editors need to composite further.

Can you match an existing brand film?

Yes. Send the reference and the lighting, lens language, pacing and grade get matched to it, so new work sits inside the existing library rather than beside it.

Do you handle sound and music?

Sound design and licensed music are delivered as part of the film unless you have a composer or an audio house already. If you do, masters are delivered split so their mix drops straight in.

How many rounds of revision are included?

Two rounds at each stage: animatic, look development and final. Because timing is locked at the animatic, changes after rendering begins are rare and quoted separately.

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