Luxury CGI studio. Creative partner for luxury retail, jewellery & beauty brands.
Trusted by the world’s top luxury brands + agencies
Luxury CGI studio. Creative partner for luxury retail, jewellery & beauty brands.
Trusted by the world’s top luxury brands + agencies
Trusted by the world’s top luxury
brands + agencies
Luxury Showreel
We are an independent motion design studio. We create photoreal CGI for luxury brands.
We are an independent motion design studio. We create photoreal CGI for luxury brands.
Mainframe is an independent motion design studio with over 28 years of experience, working directly with brands and agencies to understand the story behind each product. For luxury brands, that story is often rooted in the object, the material and the occasion. CGI shows an object closer than life, with content built around fine detail, material simulation and craft. Our work across luxury retail, jewellery and beauty includes campaigns for Harrods, Louis Vuitton, Aston Martin and Augustinus Bader.
Mainframe is an independent motion design studio with over 28 years of experience, working directly with brands and agencies to understand the story behind each product. For luxury brands, that story is often rooted in the object, the material and the occasion. CGI shows an object closer than life, with content built around fine detail, material simulation and craft. Our work across luxury retail, jewellery and beauty includes campaigns for Harrods, Louis Vuitton, Aston Martin and Augustinus Bader.
We build so campaigns can scale, with assets that work across social, broadcast, e-commerce, cinema, in-store screens and events. We act as a direct creative partner to brands and specialist agencies in the luxury sector.
28
+
Years of Experience
1735
+
Projects completed
28
+
Years of Experience
1735
+
Projects completed
We work with brands and agencies to understand the craft, shape its story and create CGI that can scale.
We work with brands and agencies to understand the craft,
shape its story and create CGI that can scale.
We work with brands and agencies to understand the craft, shape its story and create CGI that can scale.
Trusted by the world’s top luxury brands + agencies
Trusted by the world’s top luxury brands + agencies
Including Harrods, Aston Martin, Louis Vuitton, Rimowa, Augustinus Bader,
One Za’abeel, Antler, Mulberry, Laphroaig, Bowmore and SK-II.
Including Harrods, Aston Martin, Louis Vuitton, Rimowa, Augustinus Bader,
One Za’abeel, Antler, Mulberry, Laphroaig, Bowmore and SK-II
Contact us.
Contact us.
Tell us about your luxury project, question, or idea. We’d love to hear from you. The team will get back to you soon.
Tell us about your luxury project, question, or idea. We’d love to hear from you. The team will get back to you soon.
joel@mainframe.co.uk
+44 20 7833 5546
Visit us:
117 Farringdon Road, London, EC1R 3BX, UK
117 Farringdon Road, London, EC1R 3BX, UK
FAQs
Answers to common questions about our process, services, and how we work.
We work with luxury and premium brands, and with the specialist creative agencies who serve them. Our luxury CGI and animation work, some of it direct and some through agency partners, includes Harrods in luxury retail, direct since 2011 and ongoing, Rimowa and Antler in travel goods, Augustinus Bader in premium skincare, Mulberry in leather goods, One Za'abeel in luxury hospitality in Dubai, Aston Martin in automotive, SK-II in prestige beauty, and Laphroaig and Bowmore Arc 52 in premium spirits. As an independent luxury animation and CGI studio of 28 years, our work covers 3D product animation, photoreal product renders, luxury product films, campaign stills, VFX, in-store and window content, cinema and press assets, and digital art for physical spaces.
CGI is especially useful for luxury brands because it gives control over the surface, light and material a luxury product is judged on. Engraved glass, hand-blown glass, leather, lacquer, foil and polished metal all behave differently under light, and a trained eye reads the difference immediately. A luxury CGI studio can hold product, camera, lighting and environment frame by frame rather than leaving them to the conditions on the day. It can also show how a piece is made. The Laphroaig bottle we worked on came from a principle of refine or remove, with typography etched directly into hand-blown green glass so the paper label could go. Once the product exists in 3D, new markets, formats and variations become versions rather than reshoots.
CGI can work as a standalone production route or sit alongside photography, live action, edit and motion design. It is most useful when a campaign needs precise control over the material, the lighting, the reflections or the camera move. On the Aston Martin Vantage launch, Mainframe VFX supervised the shoot of the car, then recreated it in CG so the reflections were right and it sat correctly in the environments built around the live footage, and speed-ramped the on-set camera moves. For Antler Atom, a studio shoot sat alongside CG and abstract graphics sequences. Our Harrods work has spanned green screen shoots, VFX and fully CG content. Once the product exists in 3D, new formats and market versions follow without a reshoot.
Luxury films, product renders and 3D models are often commissioned for a single purpose and are hard to adapt, so the next market, the next pack or the next format starts again from the beginning. We build scalable 3D asset systems from the start. Once the product, packaging, materials and surface behaviour exist in 3D, they can support hero films, vertical and square social edits, e-commerce imagery, in-store and window screens, digital screens in physical spaces, launch films, campaign stills and market-specific versions. The Augustinus Bader launch film was built modular, so it cut multi-product or single-product and design-led or science-led, and it shipped as a kit of parts so the client could make their own language versions and new edits.
Useful starting materials include packaging artwork, label and print files, CAD data, product photography, physical samples, brand guidelines, campaign scripts, reference imagery and delivery requirements. Having them is ideal, but not always essential. We can work without CAD files where needed, rebuilding products, labels, packaging and material detail from photography, references or a physical sample. Timelines depend on the complexity of the product, the materials, the animation and the deliverables. A single photoreal product render or short luxury animation moves quickly, while a wider luxury CGI campaign across film, stills and channel versions runs longer. Many luxury CGI and product animation projects sit in the 4-8 week range, and we scope each one around the creative ambition, the approval process and the final delivery list.
Delivery depends on where the work needs to run, and we deliver to spec across platforms. That can include a hero film and cutdowns, vertical and square social edits, photoreal product renders, campaign stills and key visuals, print ready imagery, e-commerce assets, in-store and window screen content, cinema and press versions, and digital art for physical spaces. Where a campaign needs it we supply the parts as well as the finished film. The Augustinus Bader launch shipped as a kit of parts so the client could make their own language versions and new edits, with every shot composed so it could be lifted and used as a key visual. Stills from our Harrods Fine Jewellery animation ran as press ads in Vanity Fair, Tatler and Harper's Bazaar.
We work with luxury and premium brands, and with the specialist creative agencies who serve them. Our luxury CGI and animation work, some of it direct and some through agency partners, includes Harrods in luxury retail, direct since 2011 and ongoing, Rimowa and Antler in travel goods, Augustinus Bader in premium skincare, Mulberry in leather goods, One Za'abeel in luxury hospitality in Dubai, Aston Martin in automotive, SK-II in prestige beauty, and Laphroaig and Bowmore Arc 52 in premium spirits. As an independent luxury animation and CGI studio of 28 years, our work covers 3D product animation, photoreal product renders, luxury product films, campaign stills, VFX, in-store and window content, cinema and press assets, and digital art for physical spaces.
CGI is especially useful for luxury brands because it gives control over the surface, light and material a luxury product is judged on. Engraved glass, hand-blown glass, leather, lacquer, foil and polished metal all behave differently under light, and a trained eye reads the difference immediately. A luxury CGI studio can hold product, camera, lighting and environment frame by frame rather than leaving them to the conditions on the day. It can also show how a piece is made. The Laphroaig bottle we worked on came from a principle of refine or remove, with typography etched directly into hand-blown green glass so the paper label could go. Once the product exists in 3D, new markets, formats and variations become versions rather than reshoots.
CGI can work as a standalone production route or sit alongside photography, live action, edit and motion design. It is most useful when a campaign needs precise control over the material, the lighting, the reflections or the camera move. On the Aston Martin Vantage launch, Mainframe VFX supervised the shoot of the car, then recreated it in CG so the reflections were right and it sat correctly in the environments built around the live footage, and speed-ramped the on-set camera moves. For Antler Atom, a studio shoot sat alongside CG and abstract graphics sequences. Our Harrods work has spanned green screen shoots, VFX and fully CG content. Once the product exists in 3D, new formats and market versions follow without a reshoot.
Luxury films, product renders and 3D models are often commissioned for a single purpose and are hard to adapt, so the next market, the next pack or the next format starts again from the beginning. We build scalable 3D asset systems from the start. Once the product, packaging, materials and surface behaviour exist in 3D, they can support hero films, vertical and square social edits, e-commerce imagery, in-store and window screens, digital screens in physical spaces, launch films, campaign stills and market-specific versions. The Augustinus Bader launch film was built modular, so it cut multi-product or single-product and design-led or science-led, and it shipped as a kit of parts so the client could make their own language versions and new edits.
Useful starting materials include packaging artwork, label and print files, CAD data, product photography, physical samples, brand guidelines, campaign scripts, reference imagery and delivery requirements. Having them is ideal, but not always essential. We can work without CAD files where needed, rebuilding products, labels, packaging and material detail from photography, references or a physical sample. Timelines depend on the complexity of the product, the materials, the animation and the deliverables. A single photoreal product render or short luxury animation moves quickly, while a wider luxury CGI campaign across film, stills and channel versions runs longer. Many luxury CGI and product animation projects sit in the 4-8 week range, and we scope each one around the creative ambition, the approval process and the final delivery list.
Delivery depends on where the work needs to run, and we deliver to spec across platforms. That can include a hero film and cutdowns, vertical and square social edits, photoreal product renders, campaign stills and key visuals, print ready imagery, e-commerce assets, in-store and window screen content, cinema and press versions, and digital art for physical spaces. Where a campaign needs it we supply the parts as well as the finished film. The Augustinus Bader launch shipped as a kit of parts so the client could make their own language versions and new edits, with every shot composed so it could be lifted and used as a key visual. Stills from our Harrods Fine Jewellery animation ran as press ads in Vanity Fair, Tatler and Harper's Bazaar.
We work with luxury and premium brands, and with the specialist creative agencies who serve them. Our luxury CGI and animation work, some of it direct and some through agency partners, includes Harrods in luxury retail, direct since 2011 and ongoing, Rimowa and Antler in travel goods, Augustinus Bader in premium skincare, Mulberry in leather goods, One Za'abeel in luxury hospitality in Dubai, Aston Martin in automotive, SK-II in prestige beauty, and Laphroaig and Bowmore Arc 52 in premium spirits. As an independent luxury animation and CGI studio of 28 years, our work covers 3D product animation, photoreal product renders, luxury product films, campaign stills, VFX, in-store and window content, cinema and press assets, and digital art for physical spaces.
CGI is especially useful for luxury brands because it gives control over the surface, light and material a luxury product is judged on. Engraved glass, hand-blown glass, leather, lacquer, foil and polished metal all behave differently under light, and a trained eye reads the difference immediately. A luxury CGI studio can hold product, camera, lighting and environment frame by frame rather than leaving them to the conditions on the day. It can also show how a piece is made. The Laphroaig bottle we worked on came from a principle of refine or remove, with typography etched directly into hand-blown green glass so the paper label could go. Once the product exists in 3D, new markets, formats and variations become versions rather than reshoots.
CGI can work as a standalone production route or sit alongside photography, live action, edit and motion design. It is most useful when a campaign needs precise control over the material, the lighting, the reflections or the camera move. On the Aston Martin Vantage launch, Mainframe VFX supervised the shoot of the car, then recreated it in CG so the reflections were right and it sat correctly in the environments built around the live footage, and speed-ramped the on-set camera moves. For Antler Atom, a studio shoot sat alongside CG and abstract graphics sequences. Our Harrods work has spanned green screen shoots, VFX and fully CG content. Once the product exists in 3D, new formats and market versions follow without a reshoot.
Luxury films, product renders and 3D models are often commissioned for a single purpose and are hard to adapt, so the next market, the next pack or the next format starts again from the beginning. We build scalable 3D asset systems from the start. Once the product, packaging, materials and surface behaviour exist in 3D, they can support hero films, vertical and square social edits, e-commerce imagery, in-store and window screens, digital screens in physical spaces, launch films, campaign stills and market-specific versions. The Augustinus Bader launch film was built modular, so it cut multi-product or single-product and design-led or science-led, and it shipped as a kit of parts so the client could make their own language versions and new edits.
Useful starting materials include packaging artwork, label and print files, CAD data, product photography, physical samples, brand guidelines, campaign scripts, reference imagery and delivery requirements. Having them is ideal, but not always essential. We can work without CAD files where needed, rebuilding products, labels, packaging and material detail from photography, references or a physical sample. Timelines depend on the complexity of the product, the materials, the animation and the deliverables. A single photoreal product render or short luxury animation moves quickly, while a wider luxury CGI campaign across film, stills and channel versions runs longer. Many luxury CGI and product animation projects sit in the 4-8 week range, and we scope each one around the creative ambition, the approval process and the final delivery list.
Delivery depends on where the work needs to run, and we deliver to spec across platforms. That can include a hero film and cutdowns, vertical and square social edits, photoreal product renders, campaign stills and key visuals, print ready imagery, e-commerce assets, in-store and window screen content, cinema and press versions, and digital art for physical spaces. Where a campaign needs it we supply the parts as well as the finished film. The Augustinus Bader launch shipped as a kit of parts so the client could make their own language versions and new edits, with every shot composed so it could be lifted and used as a key visual. Stills from our Harrods Fine Jewellery animation ran as press ads in Vanity Fair, Tatler and Harper's Bazaar.