Prepared for Marvel Simiyu · P&L Consulting Group
Cinema, fully rendered.
A look at where Nairoreel Productions is right now — hyper-real CGI, VFX, and post, built frame by frame with full sound design.
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A look at where Nairoreel Productions is right now — hyper-real CGI, VFX, and post, built frame by frame with full sound design.
Every frame is modelled, lit, graded, and scored with intent — nothing left to chance. The result is the kind of cinematic, hyper-realistic image that reads as real long before anyone asks how it was made.
A short, fast-paced CGI film about the delivery of a mysterious case — and the clock counting down to get it there.
Everything here is from a single scene — the forest road sequence. TRANZIT has two more. We're still in post and the rest stays under wraps for now. These are the stills we've cleared for release, and they're enough to show you what we're building at the level of quality we work at.
A drone tracking shot directly overhead — the Corvette holds the line down an empty forest road. The lighting, the colour grade, the tarmac detail — all of it fully CG, and the quality speaks for itself.
A camera mounted to the rear with a wide fisheye catches the full shape of the drift — smoke kicking off both sides, the road bending at the edges of the lens, the rear lights burning through it.
Bolted to the road-side railing as the Corvette comes in on a drift angle. Headlights push god rays through the environment fog. Behind it, the tree line and overhead signs hold as dark silhouettes against a cloudy dusky sky.
Fixed cameras on the route catch the Corvette coming in and clearing out. The VHS overlay, the timestamp, the scan lines — whatever is in that case, someone is tracking it.
Inside the car, the briefcase sits open — red digits counting down on the face of it. The driver is barely in frame. The clock is not waiting.
A camera mounted low on the left, catching the moment the drift starts. Headlights throw across wet concrete, the railing runs alongside, and the car leans into the turn as it goes.
The camera sits in the dark of the forest, tracking the car as it drifts past on the lit road — headlights and tail lights cutting through, the tree silhouette in the foreground framing the shot.
Photoreal 3D — vehicles, environments and products, modelled and rendered to hold a close-up.
Smoke, spray, light and integration work that sits invisibly inside the frame.
Full mixes built from the ground up — engine, atmosphere, and score in lockstep with the cut.
Cinematic grading that sets the mood and time of day and carries a look across every shot.
Edit, finishing and delivery — the whole back end, handled in one house.
TRANZIT is one project in a full slate. Alongside it we have a CGI clothing brand reveal in production for Costa Archive, and more CGI work coming. It's worth saying directly — the portfolio is a little behind on showing where we actually are right now. What you see in this kit is closer to the truth. As each project clears post, it goes up and the portfolio catches up.
Click any still to open it at full resolution. These are from a single scene — eight angles on the same road.
"Marvel — this is where we are right now. If it speaks to you, we'd love to build something at this level, together."