We start with the job to be done: what we are showing, to whom, and what decision the viewer should make. A film for investors, a product demo at a trade show, a social ad and a residential block rendered for the sales office are four different projects, even though all of them involve 3D. We agree upfront where the material will live — website, social media, a screen on the stand, a pitch deck — because that drives running time, aspect ratio and whether voice-over is needed.

In parallel we gather the source material: drawings and floor plans, CAD models, photographs of the site or product, brand guidelines, references you like. The outcome is a brief with the goal, the shot list and acceptance criteria. If there is no specification, we help you build one from scratch; if there is, we check it for gaps and tell you plainly what is missing before a price can be accurate.

For video we write the script second by second, draw the storyboard and assemble an animatic — a rough cut with real timing, transitions and sound. You see the finished film as a whole before a single model exists. For still visualization this is where we agree on references, camera angles, time of day and the mood of the frame.

This is the cheapest moment to change your mind, and we deliberately slow down here. Moving a camera in a storyboard takes minutes; moving it in a finished render takes days and money. So we do not start modelling until you have signed off on the concept.

We model objects, characters and environments for the specific job. For games — low-poly or high-poly with the target platform in mind, whether mobile, desktop or a VR headset. For products — geometry accurate to the drawings, down to chamfers and markings. For architecture — the building together with its surroundings: landscaping, planting, neighbouring blocks.

Then come materials and lighting, and this is what separates a picture that looks like software output from a frame that sells. We treat it as a stage of its own: time of day, light sources, reflections, how soft the shadows fall. Lighting is what makes a viewer believe the object already exists.

We bring the scene to life: camera movement, animation of objects and mechanisms, and for characters — rigging, walk cycles and facial expression. Then rendering and compositing: colour grading, on-screen graphics and titles, sound design, music and voice-over in the language you need.

We deliver in 1080p or 4K. On request we prepare vertical and square cuts for social platforms, plus a subtitled silent version — those get watched to the end more often, because most people scroll with the sound off.

Revisions are built into every stage, and their scope is written into the contract in advance so that nobody meets an unpleasant surprise at the end. We review the final cut on the same devices the material will actually run on: a large screen forgives what a phone does not.

We hand over the finished files in the formats you need and, where agreed, the source files too: scenes, models, edit projects. That means you are not tied to us — any team can pick the work up later. For visualization we supply frames at print resolution; for games, models ready to drop into your pipeline.