CGI Product Ads

Across the sixteen finished films in our portfolio, ten run under thirty seconds and the median is twenty-seven. The brief sets the length, not habit: a launch film introducing a platform at a trade show ran 1:23, while a retail listing cut for a desktop organiser ran 0:28. Length multiplies everything downstream, since thirty seconds at 24 frames a second is 720 individual images, so it is worth deciding first.

Most of what makes a product ad look expensive is lighting. Our digital piano film is a study in exactly that: a high-gloss black instrument, where every highlight has to be placed deliberately because the surface reflects the entire room. It is cut with title cards and lifestyle inserts the way a launch film would be, to show how the format works end to end.

In CGI the light is a design decision rather than a constraint of the location. A highlight can be walked along an edge, a reflection can be placed exactly where the logo is, and the same lighting holds from the first shot to the last.

A campaign runs in more places than one ratio can serve. The Wallniture showcase films are a run of seven, produced from the same scene library as the still catalogue, with the final piece cut vertical for social feeds. Because the models, materials and lighting already existed, each film was an edit rather than a new build.

That is how we approach every campaign: one master in 4K, then landscape, square and vertical cuts at the lengths your placements need, plus stills pulled from the film for static ads, so every asset in the campaign shows the same product under the same light.

Fake out-of-home, or FOOH, places a CGI product into real footage of a city: a lipstick the height of a building, a trainer stepping off a billboard, a product doing something physically impossible at architectural scale. It is made to be shared as social content, and it works because the product is already a precise 3D model, so the hard part is matching it to the footage: the camera, the light and the shadows of the real street.

The background plate can come from stock footage or from a crew you already work with. The product, its animation and the compositing that makes it sit in the shot are ours.

Because the film is built from CAD, the campaign can be finished while the first units are still in production. The W-UGV I launch animation introduced Tekatron’s platform at SAHA EXPO 2026, and a product page, a launch post and a retailer pitch can all be ready on the same terms. For longer pieces, a real-time build in Unreal Engine 5, like the Capstone apartment furnished with the Wallniture range, lets the camera go anywhere in the space.