We consider a number of things during the consultancy period on our jobs - it's very important to us that we strike the right balance between the client's current and possible future requirements, as well as the budget and the time available.

We aim for a high quality creative solution at all times. As a result of our approach we've created shots on a wide range of commercials, using a variety of reference material - from aerosols and razors for Gillette, to Reese's where we modelled a nut bar and simulated pouring molten chocolate, and Mercedes where we've created and replaced portions of cars as well as using the manufacturer's CAD files to model and replace an entire car.

Mastering these types of challenging shots is very satisfying: the 3D needs to be of a very high standard as does the background cleanup work and compositing.The quality of our team and eye for detail ensures that we deliver high quality shots with efficiency.

The Q60 is an addition to Nissan's growing Infiniti prestige range of cars. The commercials were shot using a mixture of exterior location driving shots and studio beauty shots. After shooting the footage the client decided to showcase a different set of alloys from those available at the time of filming. Having successfully completed earlier work on their QX60 we were approached to work on the new campaign.

Using client-supplied Alexa LogC footage and CAD files of the new wheel assembly we updated the alloys in twelve shots. To achieve this we created HDRIs to fit in with the style of the original lighting as well as 3D tracking, 3D animation, 3D rendering and compositing.

For the TVC for the launch of the new 'Mojito' flavour soda we created two new versions of the three packshots. In the most challenging of the shots we see several cans shot in icy water; the hero can then rises through frame, breaking the water line and interacting with the ice cubes.

In order to replace the can on this shot we created a 3D fluid simulation of a can breaking the surface. This was then comped with the footage from the original commercial..

The Toyota Aygo campaign has the slogan 'Go Fun Yourself' to capture the spirit of the fun compact car. The existing campaign had cars interacting with balloons in different situations. For the print work the agency created two posters, one with a yellow car crashing through a wall of balloons and a second with a blue car with balloons coming out of the sunroof.

We were commissioned to create animated versions of the posters for use online and for electronic billboards. Using supplied CAD files of the cars we created two scenes in 3D with particle simulations for the balloons which interacted with the cars and the environment.

The GLA is the latest offering in the Mercedes range: a 4x4 with strength and beauty, full of creativity.

The original commercial was shot using multiple passes of motion-control elements, with a transition through to a prototype car - the production car wasn't then available. Our task was to recreate the reveal shot in 3D using the CAD files of the production car and a newly selected section of the motion-control footage. From the CAD files we created 3D models of the car textured in stone and the photo-real production car, as well as the environment. Using 3D tracking data from the motion-control footage we matched the selected camera move and then composited our 3D elements to create the final shot.

The Nut Bar is a new product in the Reese’s range. As there was no footage available, we created a beauty shot in 3D.

Using the product itself as a reference we modelled and textured the Nut Bar and used fluid simulation to create the pouring chocolate.

To achieve the animation and flow of chocolate that the client required we undertook many tests where we adjusted the viscosity speed of the flow. This was all composited to match the look of the digital still we received.

For this shot we were supplied with a Standard Definition 4:3 product sequence and some stills of a new razor, and asked to recreate the shot.

We modelled the razor in 3D and remade the animation and background sequence in High Definition. A little while after we'd presented our finished work the edit changed but, as we had recreated all the elements in the shot, we were able to adjust the animation to meet the client's new brief.