The duration of a 3D project depends heavily on scope, style, level of detail, animation length, quality of the source data and feedback loops. Individual product renderings or compact visualisations can be implemented much faster – for example within a few days – than extensive product animations with storyboard, animatic, motion graphics, sound design and post-production. At the beginning, we clarify the objective, message, channels, available data and desired quality in order to plan the effort and process realistically.

Yes. 3D content can be prepared for different channels and formats – for example websites, social media, trade fairs, sales, presentations, film or campaigns. Depending on the application, format, length, resolution, aspect ratio, file size and level of detail may vary.

3D content offers a high degree of flexibility. Products can be visualised independently of photo shoots, real filming locations or physical prototypes. Perspectives, colours, materials, lighting moods, camera movements or variants can be adjusted afterwards. Especially for large, hard-to-access, not-yet-produced or technically complex products, 3D enables a type of presentation that would often be difficult to achieve with traditional photography or film.

Yes. Existing CAD and 3D data can be used as the basis for renderings, animations or product visualisations. Depending on the quality of the data, models may need to be prepared, reduced, structured, textured or optimised for the intended use. Preferred file formats are .fbx, .stp, .glb and .obj.

Yes. 3D data can be prepared and optimised for visualisation, animation or web applications. This includes data conversion, simplification of complex geometries, material preparation, shading, lighting and adaptation to the desired output formats. The aim is to turn technical source data into high-quality visual content that is suitable for the planned channel and desired impact.

Yes. Storytelling and dramaturgy are central parts of the 3D process. Before the actual animation begins, we define the objective, core message, style, mood, pace and structure. From this, we develop a storyline and storyboard so that technical content is not only shown correctly, but also communicated clearly and with emotional impact.

Sound supports the pace, impact and clarity of an animation. Sound effects and music editing can emphasise transitions, movements and key product moments. In post-production, scenes are edited, arranged in the right order and complemented with suitable music and sound effects.

The price mainly depends on the scope and complexity of the project. Relevant factors include the number and quality of the source files, modelling effort, desired level of realism, animation length, number of scenes, storyboard and concept work, motion graphics, render quality, sound design, correction loops, format adaptations and required output variants for different channels. For this reason, the effort is estimated at the beginning based on the objective, content and technical source material.

Feedback is planned into meaningful phases so that changes can be considered early and efficiently. Alignment on storyline, storyboard and animatic is particularly important before final-quality rendering begins. An animatic shows the animation in a rough form and enables feedback on sequence, scene structure, timing and impact before detailed production work starts.

PESCHKE combines 3D & Motion Design with technical product understanding, marketing, UX/UI and industrial design. As a result, the focus is not only on beautiful visuals, but on clear and effective communication of complex products. Especially for capital goods that require explanation, this combination helps to communicate product benefits, target group needs and technical relationships clearly. That is why all our projects begin with thorough research to build a strong understanding of the product and target group – for visualisations that are both emotionally engaging and technically sound.