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.
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.
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.
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.
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.
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, living room, kitchen, cabin and dining room, each delivered in four colourways. Sixteen photoreal stills in total, no studio rentals or 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.