Ask any cinematographer: the subject is only half the picture. Where the light comes from, how it falls off, what lives in the shadows — that is what tells the audience how to feel. We treat 3D lighting with the same seriousness.
Lighting design
Before a single render runs, we build a lighting plan from your style frames or a mood board: key, fill and rim, practicals in the scene, the time of day, the colour temperature of every source. Then we light the hero shot first and take it to approval, so the whole film is lit to a reference you have already signed off.
Our lighting artists work physically based — real-world light units, HDRI environments, correct exposure — which is why our product renders sit convincingly next to photography and our cinematic work has depth instead of the flat, evenly-lit look that gives CG away.
Rendering
Films are rendered on our in-house farm as multi-pass EXR sequences: beauty, diffuse, specular, emission, depth, motion vectors and cryptomatte IDs. That separation is what makes compositing flexible — a client note like "warm up the product but keep the background cool" is a comp change, not a re-render.
Compositing and finishing
- Integration. CG elements composited into live-action plates with matched grain, lens distortion and colour.
- Clean-up and polish. Rig removal, edge refinement, glow and atmosphere passes.
- Grade. A proper colour grade — not a LUT — so the film matches your brand palette and reads correctly on phones, TVs and cinema screens.
- Mastering. ProRes and H.265 masters with loudness-normalised audio, in every ratio the campaign needs.
