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Visual Effects

Make people wonder how you got that shot.

The boards call for something the camera can't capture on its own. We build and integrate the CGI, shape the effects, and composite the shot so it belongs in the spot. Visual effects is one of Garbanzo's founding crafts, including cleanup, roto, and matte painting. Bring your concept, references, or plates so we can discuss the approach and the finishing requirements.

Trusted by the world's top companies:

  • Planning a shot that needs something the camera can't capture on its own.

  • Bringing CGI into filmed footage and need the elements to belong together.

  • Working with footage that needs screen replacements, cleanup, or compositing.

  • Combining effects, animation, and design within the same spot.

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Make the pieces belong in the shot

A CG object needs more than the right shape to belong in filmed footage. Its light, perspective, and texture have to make sense beside what the camera recorded. Compositing brings those details together, whether the result should pass unnoticed or make someone look twice.


We consider the intended shot alongside your references, available plates, and finishing requirements. That helps define what needs to be built, integrated, or cleaned up, and how the effects will work with the surrounding cut. The approach follows the look you're trying to achieve and the material we have to work with.

Visual effects services

VFX with animation and design

Effects can share a shot with character animation, product CG, or motion design. We coordinate those disciplines around the look of the spot and the requirements of the cut.

CG for live action

Modeling, lighting, and rendering elements that have to sit inside photography, matched to lens, light, and grain.

Effects design

Particles, simulations, and stylized effects designed for the spot from the start rather than bolted on after.

Compositing & integration

CGI into plates, screen replacements, green screen, beauty and cleanup: the core craft.

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FAQ

Featured Projects

<p class="font_8" style="text-align: left">The chiller is inside the appliance, but the product film needs to let viewers see it. Garbanzo worked with The Cookware Company on GreenPan Frost, refining the supplied CAD model and animating an exploded assembly within live-action kitchen footage. The casing separates to reveal the internal components, with animated coolant flow providing an explanatory view of the built-in cooling system.</p> <p class="font_8"><br></p> <p class="font_8" style="text-align: left">Making that view belong in the filmed scene required camera tracking, materials work and lighting matched to the set. The portfolio follows those decisions through grey-model tracking views, internal-model images and photoreal material tests. The finished commercial supplies the wider context, while the cutaway examples focus on Garbanzo’s product-animation and VFX contribution inside it.</p>

GreenPan Frost

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<p class="font_8" style="text-align: left">This project began with a technical diagram and grew into a more expressive product sequence. The Cookware Company asked Garbanzo to visualize layered cookware construction: metal layers combining, an etched pattern appearing and coatings forming across the surface. As the scope expanded, camera movement and richer materials gave the explanation more room to work as product imagery.</p> <p class="font_8"><br></p> <p class="font_8" style="text-align: left">The process included styleframes, environment studies and separate development of a fully CG egg slide. Reflective metal, close surface detail and the egg’s movement each needed their own visual tests before they could sit together in the sequence. The selected material shows both the technical construction and the cooking imagery, with experiments and unfinished tests presented alongside the more finished work.</p>

GreenPan Spectra

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<p class="font_8" style="text-align: left">When the Aries Grid container changed, its visualizations needed to change with it. Garbanzo updated the enclosure model from the earlier ONE project, carrying the revised form into interior views, system layouts and environment scenes. The work keeps the product recognizable across close component views and the larger settings used to explain its place in an energy-storage system.</p> <p class="font_8"><br></p> <p class="font_8" style="text-align: left">The revised enclosure appears in illustrated applications that include solar infrastructure, a hospital setting and nighttime storage arrays. Updated isometric imagery connects it with the surrounding power network. These product and use-case visualizations carry the revised geometry across the different scales of the presentation.</p>

Aries Grid (Updated)

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<p class="font_8" style="text-align: left">Aries Grid needed to be shown at more than one scale. Garbanzo worked with Our Next Energy on a 3D explainer and supporting visualizations of its utility-scale battery-storage system, moving from the details inside the battery enclosure to the industrial and renewable-energy settings around it. The creative task was to keep those views visually connected while making each scale useful to the explanation.</p> <p class="font_8"><br></p> <p class="font_8" style="text-align: left">Detailed racks, cabling and interior camera moves bring the engineered product into focus. Photoreal environments and isometric diagrams then place it within a wider power network, while aerial site imagery shows a proposed facility in context. The portfolio also includes styleframes, unfinished development views and presentation examples, so the finished product imagery can be read alongside the work that shaped it.</p>

Aries Grid

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<p class="font_8" style="text-align: left">The best view of this work is often the comparison. Garbanzo supplied invisible visual effects for a series of Verizon commercials, helping photographed scenes retain a clean, consistent appearance. The recorded scope included rotoscoping, rig removal, screen replacement, sky replacement and floor cleanup, with the effects supporting the performances and branded set pieces already in the footage.</p> <p class="font_8"><br></p> <p class="font_8" style="text-align: left">The finished spots show the commercials as viewers encounter them; the breakdown makes part of the hidden work visible. Ground cleanup is especially clear in the comparison imagery. It reveals the attention required to remove distracting details while preserving the appearance and continuity of the photographed scene.</p>

Verizon iPhone Ads

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<p class="font_8" style="text-align: left">A trick yo-yo and a fast foosball game help establish a family that seems to win at everything in the New York Lottery’s Meet the Multipliers film. Garbanzo’s recorded contribution was two visual-effects shots within the larger McCann New York campaign. Each effect supports a comic performance inside a photographed scene, with the finished shot needing to read as part of the action around it.</p> <p class="font_8"><br></p> <p class="font_8" style="text-align: left">The breakdowns give a closer view of that integration. Yo-yo imagery separates CG elements from the composite, while the foosball example compares the background plate, matte work and final shot. The campaign film supplies the wider story, and the two comparisons reveal how these particular effects support its comic action.</p>

"Meet the Multipliers" Ad

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<p class="font_8" style="text-align: left">What could be more delicious than a VFX project for Starbucks? Garbanzo was hired to add a festive treatment to supplied turntable footage for four six-second product spots: Holiday Trio, Caramel Brulee Latte, Peppermint Mocha and Sugar Cookie Almondmilk Latte. The drinks and holiday cups remain the focal point, with winter atmosphere and background detail adding the seasonal setting.</p> <p class="font_8"><br></p> <p class="font_8" style="text-align: left">The work involved balancing bokeh, particles and glimmer around the photographed products, with rotoscoping helping separate them from the new background treatment. The portfolio includes horizontal and vertical versions alongside before-and-after views. Those comparisons show the additions under discussion and the restraint needed to keep a very short product film clear, appetizing and easy to read.</p>

"Share The Cheer" Ads

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<p class="font_8" style="text-align: left">A grid of brightly colored rooms gives Annovera’s Unapologize campaign a world of its own. Each space frames a live-action performer, while the architecture connects the individual scenes into one graphic composition. The work presented here includes room-development imagery, previsualization and a breakdown that moves from the photographed stage to the final composite.</p> <p class="font_8"><br></p> <p class="font_8" style="text-align: left">The process material makes the visual construction easier to follow: room layouts establish the composition, CG background plates define the setting, and matte and composite views show how the performers sit within it. McCann’s campaign film brings those elements together. Development stages sit alongside the finished imagery, offering a closer view of the rooms and their integration with the photographed performers.</p>

Annovera Unapologize

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Related specialties

Commercials & Ads

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Product Technical Videos

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VFX Shots Sequences

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Broadcast Design Packages

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FAQ

Can you match an existing pipeline?

Yes. We deliver to your finishing specs or carry shots through our own Post. Share the pipeline and handoff requirements when we scope the work.

Do you do 3D rendering?

Yes. It's core to both our effects and our product rendering work, where the rendering deliverables live.

Have footage that needs the invisible treatment?

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