Plumis
Automist Fire Suppression System.
How CGI, VFX and 3D animation transformed marketing for Plumis’s revolutionary indoor fire suppression system — photoreal interiors, exploded technical animation and simulation-grade smoke, fire and water.
Watch the film
The Automist exploded film.
The Brief
A revolutionary product, marketed in a way photography couldn’t reach.
Plumis approached us to help launch Automist — a sprinkler head innovation in a space that hadn’t moved in decades. The challenge: communicate sophisticated engineering, real-world performance and home-ready aesthetics in marketing that would land with specifiers, installers and homeowners alike.
They needed photoreal interiors, exploded technical animation and simulation-grade VFX of smoke, fire and water — across multiple room types and colourways — without studio rentals, set builds or destructive testing.
We delivered an end-to-end CGI suite: four interior environments, multiple colour variants per room, an exploded sprinkler-head animation, infrared overlay sequences and Houdini-driven VFX — all assembled inside one consistent visual language for web, decks, social and print.
The Work
From exploded technical to room-ready interiors.
A complete CGI library: technical explainers, infrared overlays, simulation VFX and marketing mockups — every asset built from the same 3D source for total visual consistency.
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Inside the sprinkler head — without disassembly.
A precision exploded animation reveals the inner workings of the Automist nozzle — every component, sequenced and labelled. Built for web, socials and trade-show looping so prospects and specifiers can grasp the engineering at a glance.
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Pipework, made visible.
An infrared overlay sequence shows how Automist connects through a property — pipes, valves and head positions revealed inside a real interior. The kind of explainer that turns specifiers from curious to convinced.
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Simulation-grade smoke, fire and water.
Houdini-driven VFX sequences show how Automist responds to a real-world fire event — water atomisation, smoke behaviour and suppression timing. A 2D motion-graphic cut keeps the science legible for non-technical audiences.
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One pipeline, every channel.
Web, paid social, decks and product brochures — every touchpoint built from the same CGI source. A laptop mockup sequence pulls the simulation into a credible launch context for stakeholder and investor materials.
Marketing-Ready Assets
Photoreal interiors — every room, every colourway.
Four interior environments, each delivered in multiple colourways — no studio rentals, no set rebuilds. Drop-in ready for product pages, paid social and trade collateral.
Process
Greycard previews — locking composition before VFX.
Before any simulation work, every interior was reviewed in greycard. These technical passes let us confirm framing, lighting and motion timing with the client — so the heavy smoke, fire and water sims only ran on approved shots.
Behind the Scenes
One pipeline, every deliverable.
Every shot was built inside one CGI pipeline — same models, same lighting language, same materials. The result is a library Plumis can reuse across web, brochure, social and trade decks without rework.
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View case studyStart the conversation
Have a product worth showing? Let’s talk about what it needs to do.
We reply to every brief personally — usually within one working day.
What challenges were there during production?
Artists Commentary.
The client initially knew the outcome they wanted but not the specifics — so the brief evolved through several rounds of creative consultation.
Smoke, fire and water simulation each carried their own technical risk, and every interior had to feel like a real home rather than a CGI set.
We built a clean greycard pipeline so the client could approve composition and motion before the heavy simulation passes — keeping the project on time and on budget.