Ready to work with us? Great!

We’ll be happy to answer your questions and prepare an offer — all we need is a bit of technical information about your project.

To provide a quote, we require access to some project documentation. During the quoting stage — and later in the process — we accept 3D models in .max, .rvt, .fbx, .skp, .3ds, .3dm, .dxf formats, and 2D drawings in .dwg, .dxf, or .pdf.
Hand sketches, photo references, and any other materials that help us understand the design and its mood are always welcome.

We usually work on completed designs — meaning the input material stays consistent throughout the process.
Our schedule is typically arranged in advance, so please consider contacting us ahead of time.

check out Frequently Asked Questions (FAQ)

What now?

You can either fill out our contact form to send us the project details in a structured way:

TELL US MORE ABOUT YOUR PROJECT

…or simply drop us an email if that’s more convenient.

Our workflow for still images

We use Autodesk 3ds Max with V-Ray 7 (both CPU and GPU) and Corona Renderer for most of our work — including animations, where we also incorporate Chaos Vantage. Modeling is supported by tools such as McNeel Rhinoceros, SketchUp, and occasionally Revit.
For post-production and 2D compositing, we rely primarily on Adobe Photoshop and DaVinci Resolve (for video).

Here’s a general outline of how our standard process for still images unfolds:

  • Input analysis

    We begin by reviewing all the files provided — technical documentation, 3D models, reference materials, sketches, etc. This gives us the context we need to plan the workflow.

  • Modeling & scene setup

    Based on the project documentation, we build the 3D model of the architecture. If a model is provided, we adapt it to fit our pipeline. We also prepare a basic surrounding context, keeping it flexible since final camera views haven’t been selected yet.

    1

  • 2

    Camera setup & clay previews

    Once the base model is ready, we explore camera angles and prepare clay renders (or screenshots) to confirm the geometry, composition, and perspective. These are shared for feedback before moving on.

  • Lighting, shading & color previews

    We set up lighting and materials, add detail to the surroundings, and incorporate vegetation. With this in place, we produce low-resolution, full-color previews that approximate the final look. From this point forward, we aim to avoid changes to the geometry.

    3

  • 4

    High-resolution rendering

    When everything is approved, we render the final images in high resolution.

  • Post-production

    Color grading, 2D compositing, and population (adding people, details, effects). Sometimes some AI enhancements. This is where a lot of the atmosphere comes together. Once completed, the image is sent to the client. Any further revisions are ideally limited to post-production.

    5

Our workflow for animation

Our animation workflow shares its foundations with the still image process, but includes a few key differences and additional steps.

We use Autodesk 3ds Max with V-Ray 7 (both CPU and GPU) and Corona Renderer and/or Chaos Vantage. We also explore workflows using interactive tool i.e. Unreal Engine 5.5. 
For post-production and compositing, we rely on DaVinci Resolve Studio.

  • 1

    Script & sequencing

    We start by discussing the scope and purpose of the animation: what needs to be shown, how long the film should be, and whether it will include text, voiceover, or branding. A simple storyboard or sequence draft is often created to guide the pacing and structure.

  • Camera path planning & previs

    We design smooth and coherent camera paths through the 3D environment — using simplified geometry and basic shading for early preview animations (previs). These are shared for approval before proceeding with detailed rendering.

    2

  • 3

    Lighting, materials & environment detailing

    Once the camera movement is approved, we refine the lighting, materials, and scene details — including vegetation animation and atmospheric effects (e.g. fog, dust, light shafts).
    If the animation is part of a broader package that already included still imagery, much of this work may already be in place and only require adjustments or optimization for motion.

  • Rendering

    The animation is rendered as a sequence of high-quality frames using V-Ray, Corona, or Chaos Vantage, depending on project requirements. This is often the most time-consuming part of the process.

    4

  • 5

    Editing & post-production

    We assemble the final cut, add color grading, sound, branding, or narration if needed — using DaVinci Resolve or Adobe After Effects. The end result is a fully polished video tailored to your communication goals.

FAQ

To provide an estimate of cost and timeline, we’ll need a few key details about your project: how many images you have in mind — or in the case of animation, how many seconds of footage and how many distinct shots we’ll be creating. It’s also important to know what type of space we’ll be visualizing (interior, exterior, aerial), what your deadline is, and how the visuals will be used — whether for a competition, sales, a concept presentation, or something else entirely. We need to know if we have to create 3d model on our side. Lastly, let us know if we’ll need to handle drone photography as part of the process.

To prepare a more accurate estimation we need to dive deeper into project files.

The “starter pack” we ask for at the beginning of a project depends slightly on the scope, but usually includes a 3D model (if available), suggested viewpoints marked on screenshots or plans, and the project’s location — a Google Maps pin works just fine. Reference images or links for architectural materials, products, and planting schemes are also very helpful, as are moodboards or any visual references that reflect the desired atmosphere.

On top of that, a marketing brief or brand guidelines (if available), photo documentation, and aerial drone shots — if we’re working on views that require them — are great additions. Sketches, concept notes, or anything else that helps us better understand the intent behind the design are always welcome too.

A typical set of still images (4–5 visuals) takes around 2–3 weeks to complete. One minute of animation usually requires 3–5 weeks of production.
We’re often booked 4–8 weeks in advance, so if you’re working with a tight deadline — it’s best to reach out early. In some cases, we can adjust our schedule to accommodate urgent projects. Just let us know.

Keep in mind that the timeline also depends on how smoothly the review and feedback process goes. Clear and timely communication helps keep things on track and avoid delays.

We’re flexible. Ideally, the model should include main architectural and landscaping elements, but no small details like HVAC or plumbing.
Supported formats:

  • Rhino (.3dm),

  • SketchUp (.skp), > here < you can check our guide on how to prepare skp model

  • Revit – exported to .FBX, or native .RVT file

  • ArchiCAD – exported to .3ds (with 1000 mm scale).

  • Other formats: .DXF, .DWG

Working in a different format? Get in touch and we’ll figure it out.
No 3D model? We can build one from DWG drawings — this is an extra service that affects the quote.

Yes — you can pay in EUR or PLN. Whatever works best for you.

We’re open to jump back in. Many clients return to us to update images, create additional content, or work on post-competition visuals. We keep all project files in our archive for 5 years, so we’re ready whenever you are.

We use a dedicated review platform to collect and manage feedback — it makes commenting easy and helps us stay on the same page. It’s our preferred way of working, but we’re flexible and happy to adapt to your workflow if needed.