The standards
behind the image.

We accept a broad range of 3D source files. If you can choose the format, FBX or OBJ is easiest for our team to work with and travels well between applications. We confirm compatibility with the actual file at intake rather than promising that every file from every application will open unchanged.

A mesh, scan, drawings or photographs can also be a starting point. Supplied CAD is useful, but it is rarely the final render-ready model. Most projects involve remodelling to give the product a convincing photorealistic form.

There is no universal file-size or assembly limit. We review large or complex source files case by case. The minimum references vary by brief. Drawings, mood boards, material boards and physical samples all help when available; a storyboard helps when your team wants to direct the creative. More information gives us more to work from.

We build product geometry to the CAD or drawings supplied for the project. That is what dimensional accuracy means here. It does not mean that we have independently measured the physical product or verified the source data.

There is no studio-wide numerical tolerance. Where the brief needs one, it is agreed for that project.

When CAD surfaces are converted into render geometry, mesh detail is judged for the project and the shot rather than set to a fixed studio-wide density.

Tom checks the product's accuracy at the grey-card stage. Those grey cards then go to your team for approval before the work moves on.

The finished CGI is a visual asset. It is not suitable as a manufacturing or engineering reference; those decisions must use your approved technical source data.

Every delivery is confirmed against your channel, platform and downstream team before production, including format, resolution and naming. If a retailer, printer or platform supplies a particular specification, send it with the brief so we can agree the output against that requirement.

Stills are delivered as PNG or JPEG as standard, at around 4,000 pixels on the long edge for digital use. Larger print sizes are agreed at brief, and TIFF files are supplied when your printer or team requires them. Finals are flattened as standard; layered PSD files or separate render passes, such as shadow and reflection, are available for your own retouching when requested at brief.

Our handoff standard is sRGB for digital stills and Adobe RGB for print, with the colour profile embedded. Conversion to your printer's own CMYK profile is available on request, and bit depth is agreed per project.

Colour is matched to the product itself. Depending on what your team can supply, we work from a physical sample of the product or finish, colour references such as Pantone, RAL or brand codes, your material and finish specification, and approved reference photography.

Where hero stills also need to work on product pages and retailer listings, they can be supplied on white or transparent backgrounds with a clean alpha channel, with the shadow on its own layer so it can be kept or removed, and with clipping paths where a retailer or team asks for them.

Films are produced at 24 frames per second as standard, for a filmic feel, with 25, 30 or 60 frames per second when the destination needs it. Full HD is the standard film resolution, with 4K when the brief calls for it. Film is handed over as ProRes or H.264, with the master and channel versions agreed at brief.

Social and paid cut-downs are part of a launch suite rather than of a hero film on its own. Sound is scoped per project, and where a film uses music, XO3D licenses it for the agreed usage and channels. Caption files in SRT or VTT format, and burned-in subtitles, are available on request.

For a web viewer, configurator or AR model, the triangle budget is set by the platform and the devices it has to run on, agreed at feasibility rather than fixed in advance. Textures are prepared at 2K, with 4K on hero surfaces, and models are delivered as GLB with Draco-compressed geometry and KTX2 textures, typically at around 10 MB or less. Every real-time build has lower-detail versions (LODs) and a material and draw-call budget set for its target platform.

The load target is agreed against your own worst-case device. Before we commit to an interactive, we confirm the variant count, the platform and devices, hosting and your site's security rules, and whether the source CAD can be optimised for real time.

AR is delivered in the form your platform needs, typically USDZ for AR Quick Look on iPhone and iPad, GLB for Android and the web, and a hosted link or QR code that opens the model in AR. 3D assets can also be handed over as glTF, FBX or OBJ. The delivery route can be an agreed asset handoff or an experience that XO3D builds; the integration options explain who owns each part.

Cinema 4D is the primary 3D tool across the studio. Houdini supports simulation, advanced motion and technical effects; 3ds Max and Blender are used by specific artists. Redshift is the primary GPU renderer, with Corona as an alternative and KeyShot for fast product work. The colour workflow is usually ACES. Adobe After Effects handles compositing and grade, Adobe Premiere handles sequence assembly, and Frame.io supports client review. Midjourney is used for concept and mood-board exploration only, within the position below.

We run a deliberately limited number of concurrent projects so each keeps named creative direction. If your project needs assets for an existing client pipeline, we scope that handoff case by case.

Every asset XO3D delivers is built from your CAD or modelled by hand in the studio, then lit, rendered and graded in our own pipeline.

Generative tools have one place in our process. At concept stage, before any geometry is built, we sometimes use them the way a director uses a mood board: to explore lighting direction, environment and mood with the team and with you. Those images are references for a conversation. They are not a deliverable, they are not traced, and no part of them reaches a final frame.

That distinction is the whole argument. A frame rendered from a controlled 3D scene can be versioned, corrected, and carried into the next deliverable, and it matches your product because it was built from your product. An image model cannot give you that. We set the reasoning out in full in our guide on CGI versus AI-generated product images.

If your brand requires that no generative tool touches any stage of your project, including concept, tell us at brief and we will work that way.