Uploaded August 2026 | Updated September 2026, 1 week ago
Five frames of Pair Eyewear, one 30-second commercial, and every single pixel built from scratch in 3D. No AI anywhere in this pipeline, just a full traditional CGI workflow from modeling through final render in Octane.
The brief was tough given the runtime: five distinct frame styles, each one needing its own moment on screen before pulling together into a final pack shot. We used match cuts throughout so the film reads as one continuous idea instead of six separate clips stitched together.
The client's mood-board set the tone early: a warm, sun soaked palette, linen textures, and the kind of lighting that made the frames feel like they belonged on a summer table rather than a studio set. That same brief also handed us the hardest part of the job, since the spot leans heavily on extreme close ups. At that distance every material has to hold up, from the subsurface scattering in the clear acetate to the tortoiseshell patterning on the darker frames. Materials, not modeling, ended up being the real time sink on this one.
The final deliverable also went out in five aspect ratios. That meant five separate camera and keyframe passes off the same base scene, so every frame still sits properly composed whether it's landing on a widescreen ad or a vertical story.
What you're watching is the traditional route, done the long way and built to survive a close up.
More on our 3D animation work: kasradesign.com/3d-animation
Five frames of Pair Eyewear, one 30-second commercial, and every single pixel built from scratch in 3D. No AI anywhere in this pipeline, just a full traditional CGI workflow from modeling through final render in Octane.
The brief was tough given the runtime: five distinct frame styles, each one needing its own moment on screen before pulling together into a final pack shot. We used match cuts throughout so the film reads as one continuous idea instead of six separate clips stitched together.
The client's mood-board set the tone early: a warm, sun soaked palette, linen textures, and the kind of lighting that made the frames feel like they belonged on a summer table rather than a studio set. That same brief also handed us the hardest part of the job, since the spot leans heavily on extreme close ups. At that distance every material has to hold up, from the subsurface scattering in the clear acetate to the tortoiseshell patterning on the darker frames. Materials, not modeling, ended up being the real time sink on this one.
The final deliverable also went out in five aspect ratios. That meant five separate camera and keyframe passes off the same base scene, so every frame still sits properly composed whether it's landing on a widescreen ad or a vertical story.
What you're watching is the traditional route, done the long way and built to survive a close up.
More on our 3D animation work: kasradesign.com/3d-animation
