3D previs for commercials and films

What 3D previs is

3D previs is a rough version of your film, built in 3D before production starts. In Blender we block out the sets, stand-in characters and your product at real scale. Then we place a virtual camera for every shot and set what a camera crew would set on the day: the height, the lens, the move and how long the shot holds. Played in order with the cuts in place, it becomes an animatic you watch at running time, with the voiceover or music under it.

It looks plain on purpose. Untextured sets and stand-ins keep the review on what each shot does: the framing, the move, the beat where the product turns into the light. Texture, faces and finish come later. The previs settles the part that's hardest to change once a shot exists.

Why we plan AI productions in 3D

Left to a prompt, a video model chooses the camera for you: its height, its lens, its move. Shots made that way can look good alone and still not cut together.

The previs makes those choices first. Each shot is generated from its previs frame, so the camera, blocking and timing you approved carry into the final shot. A push-in lands on the logo because it was set to land there. The label faces the lens on the line where the voiceover names the product. Two shots cut on an eyeline because both cameras were placed in the same scene.

It also puts decisions where they're easy to change. Swapping a wide lens for a tighter one in Blender is a setting and a fresh render. After generation, the same note means making the shot again, and often the shots on either side of it.

Previs with us, or by itself

Inside a production with us, the previs closes the Plan stage of AI video production. It follows the script and storyboard, and production starts when you sign it off. Every shot in the final film starts from a previs frame, and our studio pieces show the two side by side.

Bought by itself, the previs is a plan for the team making the film. An agency can use it to pitch a spot before anything is made. A brand team can agree on the camera, the pacing and the cut before production is booked. You get the locked animatic, a shot list with camera and lens notes, and previs stills for decks and briefs. Whether the Blender scene files come with them is set in each quote. The animatic is a video file anyone on the team can open and give notes on, shot by shot.

From script to locked animatic

Send what you have: a script, a storyboard or a clear idea, plus the format and where the film runs. For products, add photos, dimensions or a 3D file, so the product sits in the scene at its real size. Films you like help us match a camera style. A schedule and quote follow the first call.

If you're starting from an idea, we write the script first. We break it into shots and draw boards if there aren't any yet. Then we build the sets and stand-ins, place the cameras, choose the lenses and cut the shots to time against the voiceover or a temp music track. When the film runs in 9:16 as well as 16:9, each shot is framed for both, so the vertical version is planned rather than cropped.

You give notes on framing, moves and pacing, and we adjust the animatic in Blender. Once you sign it off, it's locked: the camera, the blocking and the timing that production follows.