Stills show what a building looks like. Film shows what it is like to arrive, walk through the lobby and stand on the balcony as the light changes. Developers and marketing teams use film most at presale launch: a hero film for the website and sales centre, shorter cuts for social and paid media, and loops for the screens behind the sales desk. Architects use shorter flythroughs at design review to explain circulation and sequence. Council presentations sometimes use a slow street-level walk to show how a building sits along a block.
Plan film late in the design and early in the marketing calendar. A film needs the design to be settled, because every change means re-rendering frames. It also needs lead time before launch, because the edit, sound and titles come after the rendering. Work back from your opening date, as described in our presale launch timeline.
A moved window or a new railing can mean re-rendering every shot that sees it, which is far more work than fixing a still.
We lock the camera moves on grey footage first and render only after the architect confirms the design. The film is built on the same scene as the approved stills.
More →Feedback on video is vague when it arrives in an email, and it gets applied to the wrong shot.
In StudioLink, comments pin to a moment in the film, so every note lands on the exact frame.
More →A wide film cropped to vertical loses the building, and the text sits under the platform's buttons.
Vertical, square and wide framings are planned in the storyboard, not cropped at the end.
More →Tracks licensed only for the web can't run in a paid campaign or in the sales centre.
We need the approved drawings (CAD, Revit, SketchUp or PDF), the finish schedule, the landscape plan, the interior package for any interior shots, the brand guide and the channels the film will run on.
A short written sequence: arrival, amenity, home, view. Each shot is sketched with its purpose, so nothing is rendered just because it looks nice.
Grey footage with timed camera moves. This is the cheapest point to change pace, angles and order, and the right moment for the whole team to review.
Materials, light and landscaping come from the approved stills. Frames are rendered, then reviewed as a first cut.
Music, sound design, titles and the brand end card are added. Voice-over is available on request.
The hero film, social cuts in vertical, square and wide, and sales-centre loops, each in the right size and length.
To confirm the building in every shot, including the ones that pass quickly.
Confirmation that the design is frozen before rendering starts.
The architect reviews the animatic and the first cut on the same record, with frame-pinned comments.
A film that fits the campaign's tone, titles and channels.
The brand guide, the campaign line and the media plan.
The agency comments on pace and titles while the architect comments on the building, in one thread per version.
Loops for the screens and short clips to send to buyers.
The questions buyers ask most, so the film answers them.
Approved cuts land in the library, ready for the sales-centre screens and the web tour.
Because the film uses the scene from your approved renderings, the sky, the materials and the planting match across the billboard, the website and the phone. It also means a seasonal refresh or a new phase starts from the existing scene. AI motion can turn approved stills into short clips for social between larger film updates.
Yes. Every film is delivered in the aspect each platform uses.
Yes, on request.
It depends on the length, the number of shots and how settled the design is. Rendering, editing and sound each take time, so films need more lead time than stills. Your scope shows the dates.
A rough version of the film with grey models and timed camera moves. It lets everyone approve pace and angles before the expensive rendering starts.
Yes. Vertical, square and wide cuts are planned from the storyboard so the building stays in frame in each one.
Small edits such as titles, music or order are quick. Design changes that affect many shots mean re-rendering those frames, which is why we confirm the design at the animatic stage.
Not always, but a film is quicker and more consistent when it follows approved stills, because the materials and lighting are already decided.
Yes, on request. Tell us early, because the script and timing are built around it.
Music is licensed for the uses listed in your scope. If you plan to use the film somewhere new, such as broadcast, check the licence first.
