A pink can of Left Field Kombucha tea with a rose and elderflower botanical illustration, placed on a wooden surface with a pink and white rose beside it.

Living room with beige sofa, wooden coffee table, potted plant, wall art, built-in bed with gray bedding, and person walking through, bright natural light streaming in from window.

Modern dining room with a wooden table, four light blue chairs, a sideboard with framed artwork, a pink lamp, and a person in motion in front of a textured gray wall with shadows from window blinds.

A bottle of craft brewed fermented tea with a pink label next to a champagne flute against a red background.

A military fighter jet airplane with a sleek design on a black background.

A monochrome white interior dining room with a table, four chairs, a sideboard, a table lamp, and a woman standing with her hand on her face, appearing to be thinking.

A can of Sicilian Lemon & Mint kombucha from Left Field, surrounded by four fresh lemons, set against a yellow background.

A small bird with orange and yellow feathers perched on a green branch among holly leaves with spiny edges.

Fighter jet aircraft flying low over a green, hilly landscape with mountains in the background.

A UFO spaceship inside an enclosed hangar with artificial lighting and equipment around it.

Interior view of a modern kitchen and living space with green cabinetry, wooden flooring, and a small dining area in the background.

A pink can of Left Field Kombucha tea labeled 'Rose & Elderflower,' with an illustration of a flowering plant, positioned on a pink background with shadow patterns and a pink rose.

Two bottles of craft brewed fermented tea on a wooden table with a black plate and a potted plant nearby. A blurred background includes a framed picture and a pink lamp.

A bottle of craft brewed fermented tea labeled Darjeeling, on a wooden table with a champagne flute beside it, against a brick wall background.

A wooden dining table with potted plant, three bottles of tea, black plates, and framed artwork against a gray textured wall with sunlight patterns.

Minimalist white dining area with a table, four chairs, a sideboard, a lamp, and wall art, illuminated by sunlight creating shadows.

A dark glass bottle of craft brewed fermented tea with a blue label that reads 'Oolong The Floral One,' placed on a wooden surface with a green tiled wall in the background.

A group of weathered, moss-covered sculptures of human figures standing on a deserted beach under a cloudy sky.

Three cans of Baltic beer against a black background with reflections below.

A brown glass bottle of craft brewed fermented tea with a label stating 'Yunnan Black, The Earthy One' and 'Left Field Kombucha,' placed on a wooden surface with a dark purple and black background.

A woman in a checkered shirt talking on her phone in a modern dining room. There is a light wooden dining table with blue chairs, some beer bottles, a potted plant, and a sideboard with framed posters, a pink table lamp, and a cityscape picture. Sunl

A large, futuristic aircraft is crashed in an urban parking lot beneath a cloudy sky, with surrounding cars and buildings.

Close-up of the rear of a sleek, dark gray sports car showing detail of the taillight, rear wing, and part of the rear wheel.

Miniature wooden house with blue windows in a forest of small wooden trees, with painted mountain backdrop and gray sky.

CGI for design agencies

and brand teams.

We make photoreal CGI for design agencies, brand teams, and the studios that build identities for the world's best companies. Where photography hits its limits — cost, speed, things that don't exist yet, things that can't be filmed — CGI takes over.

What we do

We work with design and brand agencies in three main ways:

Bringing brand identities to life. A logo, a colour palette and a few mockups can only carry a brand so far. We build the environments around new identities — interiors, exteriors, products, packaging — so the client can see how the brand sits in the world. It closes the gap between concept and decision, and gives the design team a far more persuasive story to tell. See: Union Brew, Press Bros. Coffee.

Modern interior dining area with a minimalistic wooden table, four light blue chairs, a sideboard with a pink lamp, framed artwork, and a blurred person walking past.

Living room with a sofa, small table, bookshelf, framed art, potted plant, and bed separated by a wooden partition.

Visualising what doesn't exist yet.

New products before the first prototype. Buildings before the foundations are dug. Retail spaces before construction. Packaging concepts before tooling. CGI lets you see the finished thing — and iterate on it — without committing to production. See: Union Brew, ARK, Kombucha.

Wooden table with two bottles of tea, potted plant, black plates, and pink mushroom-shaped lamp in background.

Showing how things actually work

Some products are impossible to film convincingly — too small, too fast, too internal, too dangerous, too modular. CGI doesn't have those problems. We build the product, control every variable, and show clients exactly what they need to see. Same applies when a campaign needs to scale across dozens of variations: one CG setup can flex in ways a photoshoot never can. See: Eurofighter, Kombucha.

Quality on a real-world budget

Most briefs come with budgets that don't match the ambition. That's the reality of the industry, and pretending otherwise doesn't help anyone. We've built our workflow around getting genuinely high-quality results out of constrained budgets — through smart asset reuse, modular scene building, prioritising the shots that earn the most, and knowing where to spend render time and where not to.

On the ARK project, the building didn't exist yet and the budget was tight. We made it work by being honest with the client about what we could and couldn't deliver at that price point, then focusing every hour of production on the choices that mattered most for the final image — lighting, hero materials, camera choices.

To stretch the budget further, we brought in real-time game engine technology alongside the traditional CGI pipeline. The maths makes the case on its own: a 1080p frame in Cinema 4D rendered in around four minutes, with roughly 250 frames per shot — eight-hour render times per shot weren't unusual, and some ran longer. The same scene built in Unreal Engine and Twinmotion rendered out at 4K in eight minutes. Higher resolution, a fraction of the time, with roughly a 10% drop in visual fidelity that most viewers wouldn't notice.

That gap in render time doesn't just save money — it changes what the client gets for it. The same budget can deliver longer animations, more variations, and assets that aren't locked to a single output. Because the work is built in a game engine, the same models become game-ready and web-optimised: interactive, real-time, embeddable in a browser, ready for AR/VR if that's where the brand is heading. The deliverable goes from "a render" to "a living asset the brand can keep using."

That mindset runs through most of our work. Big budget or small, we'll tell you what we can deliver for what you've got, and we won't pretend a job is fine when it isn't. We'll also tell you when a different tool — game engine, hybrid pipeline, smarter modular setup — gets you more for your money, or more from the money you've already spent.

Black Audi TT sports car with red accents on wheels, displayed against a black background with soft lighting.

Why CGI, why us

Photography is brilliant when you have a finished product, a clear set, and time to shoot. When you don't — or when you need flexibility that photography can't give you — CGI is the better answer. A single CG scene can be relit, restaged, repopulated and rebranded as the campaign evolves. New flavours, new colourways, new languages, new layouts. The work scales with the brand instead of being locked to a single shoot day.

We've spent years working alongside design agencies and production companies, which means we understand how creative work actually gets made. We're comfortable inside someone else's brand system, we know how to take a guideline document and build from it, and we know when to push back. From brand visualisation for coffee shops to VFX supervision on broadcast and trade-show films, we deliver work that sits credibly next to the rest of an agency's output — never the weakest link.

Military fighter jet flying over green hills with a mountain range in the background.

How it works

Most projects follow a similar shape:

Brief and reference. What's the brand, what's the deliverable, what's the timeline. Mood boards, brand guidelines, plates, any existing 2D work we're matching.

Build and render. Modelling, texturing, lighting, simulation where needed, final rendering in Arnold.

Concept and look development. Early renders to establish lighting, materials and composition. Quick to iterate, easy to course-correct before the expensive end of production.

Integration and finishing. Comp, grade, motion design where applicable. Delivery in whatever formats the campaign needs — print, social, broadcast, web.

Build and render. Modelling, texturing, lighting, simulation where needed, final rendering in Arnold.

For ongoing brand work we'll often build modular systems — one master scene that can be reconfigured for new variants, new seasons, new markets — so the brand can keep using the work long after the initial delivery.

Light blue sports car with large gold rims and black accents, featuring a rear wing, displayed against a teal background.

Tools

Built primarily in Cinema 4D, rendered in Arnold, with X-Particles for simulation work, Nuke for compositing and tracking, and Cavalry for motion design and finishing. We choose the right tool per job rather than forcing everything through one pipeline.

Let’s Work Together

If you've got a brand that needs bringing to life, a product that needs visualising, or a campaign that photography can't quite stretch to — let's talk.