Questions
The answersbefore youhave to ask.
Price, schedule, revisions, and the ones nobody else will put in writing — who owns generative work, whether it is protectable, and what happens to the material you send us.
Working together
What the studio is, and what starting looks like.
- What does the studio actually do?
- We make the images, films, interactives and immersive experiences that let people see an idea before it is real — a vehicle that has not been built, a kitchen that does not exist, a product that so far is only data. Thirteen service lines sit under one roof, from pre-production through CGI, film, configurators, XR and architectural visualisation to the marketplace imagery at the end of it, so an idea can travel from first frame to final delivery without changing hands.
- We only need one film, or one set of images. Is that too small?
- No. Most engagements start as a single deliverable and plenty stay that way. The pipeline is laid out as five stages because clients rarely know that the configurator, the localisation set and the listing imagery come off the same build — not to oblige anyone to buy all of it.
- Can you work alongside our agency or in-house team?
- Yes, and it is a common arrangement. We are usually the production end: the agency owns the idea and the client relationship, we build and finish the assets. We can also take over a half-finished pipeline, which is less pleasant but entirely possible.
- What do you need from us before work starts?
- Four things: the design data or reference material, your brand guidelines, the date it has to be live, and the name of the person who signs it off. The last one matters more than it sounds — most production problems are scoping problems wearing a different coat, and an unnamed approver is how a locked brief comes unlocked in week three.
- What design data can you take?
- If it opens in VRED, Maya or Unreal we can work with it, which covers most CAD and surfacing exports (STEP, JT, IGES, and native Alias or CATIA by translation) and the usual 3D interchange formats (FBX, OBJ, Alembic, USD). Send one representative file before you commission anything and we will confirm rather than guess: a bad translation is better found in a quote than in week two.
- Who will we actually be dealing with?
- The people doing the work. The core team is six, across Bengaluru and Ras Al Khaimah, and specialists we have worked with for years come in around them as a project needs them. The six hold the standard: nothing leaves the studio without their approval, so scaling a job up adds hands rather than lowering the bar. Either way there is no account layer between you and whoever is lighting your shot — which also means you hear directly when a date is not real, instead of having the message relayed.
Time and money
The questions that normally arrive by email before anyone gets on a call.
- How long does it take?
- From the point your inputs land: a still set in days, a short film in weeks, a configurator or XR build on a longer cycle because it has to be tested on real hardware. The cadence we hold on a live monthly retainer today is two weeks from inputs to a finished package of twenty-four images and two cuts. The variable is almost never our production time — it is how long the reference material and the sign-offs take.
- How do you price?
- Fixed price against an agreed scope, quoted after a brief rather than taken off a rate card, because an hourly figure tells you nothing about what a film costs. Where the work is continuous we price it as a monthly package with a fixed deliverable count, and anything beyond that count is priced per asset — so you can see what an addition costs before you ask for it.
- Do you work on retainer?
- Yes, and it is the better arrangement for anyone who needs a steady output of content rather than one campaign. A monthly package fixes the scope and the price, extras are priced per asset, and we hold the agreed rate for the term instead of repricing you each quarter.
- How many rounds of revisions do we get?
- Refinements inside the agreed direction are part of the job and are not counted — notes on light, framing, pace, colour and detail are how the work gets good. A redesign is a different thing: once a stage is approved it is locked, and changing direction after that restarts the work from that stage. We will tell you the timeline impact before we begin rather than absorbing it quietly and missing your date.
- Who pays for render time and AI compute?
- We do, inside the quoted price. It is also why video is priced per asset rather than bundled: render compute is the real cash cost of a film, and pretending otherwise is how the fifth cutdown ends up refused. If you would rather run one of our internal tools yourself, you bring your own API keys and the per-render cost sits with you.
AI, rights and ownership
Five of our service lines are generative. These are the questions that decide whether a brand can actually use the work, and most studios leave them unanswered.
- Who owns the work you deliver?
- You do. On final payment all rights in the delivered assets are assigned to you, with no restriction on territory, media or term — the only arrangement that makes sense for a brand buying campaign material. We keep the project files so the work can be revised or extended later, and we ask to show the finished piece in our own portfolio and showreel. If that needs holding back, say so at the start and it goes into the agreement as a confidentiality term rather than being settled after launch.
- Is AI-generated work even copyrightable?
- This is the right question, and the honest answer is that it depends on how the work was made. No major jurisdiction recognises an AI system as an author: Indian law vests authorship in the person who caused the work to be created, and the US Copyright Office declines to register output that lacks human authorship while registering AI-assisted work for the parts a human did author. In practice that means human authorship is not a nicety on a generative project — it is what makes the result protectable at all. So our pipeline keeps direction, art direction, selection, compositing, editing and grade in human hands and on record, rather than treating a single prompt as the finished article. We are a studio and not your lawyers; take the position to your own counsel before you rely on it.
- So is this AI instead of craft?
- No, and the distinction is load-bearing. Generative tooling shortens the route from idea to screen; it does not supply judgement about what belongs on screen, which shot follows which, or why a frame is not working yet. Everything we deliver is directed, edited, composited and graded by people — for the commercial reason above as much as the obvious one.
- Is our material used to train anything?
- No. We work through commercial services on terms that exclude training on submitted content, we do not contribute client material to any public dataset, and references and design data stay in private project storage. If your legal team needs a named retention or deletion period, we will write one into the agreement.
- Could the output resemble somebody else’s work?
- Not by our method. We do not prompt on a named living artist, a studio’s house style or a competitor’s campaign imagery, and we will decline a brief that asks us to. References are either your own material or built in-house: on generative projects we construct characters, environments and products as separate reusable elements and composite them, which is both what keeps a cast recognisable across a campaign and what keeps the imagery ours to give you.
- Do you use real people’s likenesses?
- Only with a signed release from that person, obtained before production. The cast in our generative work is synthetic and built from elements we control, which is deliberate: a campaign can then run for a year without a usage renegotiation, and nobody’s face ends up in your advertising without their agreement.
- What about real products, vehicles and logos in frame?
- We flag them before the frame is locked. A third party’s badge, model name or trade dress in your advertising is a decision for you and your legal team, not something a visualisation studio should settle quietly inside a render — so you hear about it from us while it is still cheap to change, and where you want it gone we remove or replace it rather than hoping nobody reads the plate.
- Will you tell us which parts were generated?
- Always, in writing, broken down by asset — you cannot make a disclosure decision about work whose production you only half know. Whether you disclose publicly is yours to decide: platform and advertising rules on synthetic media differ by market and move quickly, and we will tell you what we know of them without pretending it is legal advice.
What we do not do
Shorter than the list of what we do, and more useful.
- Can you handle print production and prepress?
- No. We deliver print-specification imagery, but cut files, colour separation, proofing and press-side work are a different discipline and we do not offer them. We have declined this on capability rather than on price, and we would rather hand you to a prepress house that is good at it.
- Would you turn work down?
- Yes, and it is worth knowing that before you brief us. If a job needs a capability we do not have, or a date that cannot be hit without the work being bad, we will say so at the start instead of learning on your budget and apologising later.
Something here not answered, or answered in a way that does not fit how you work?
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Describe the problem, not the deliverable.
Tell us what has to be understood, by whom, and by when. We will tell you honestly whether we are the right studio for it.