A 3D animation studio that works worldwide

• Product video. Modelling, materials and photographic render of an object that exists, with the right finish. For launches, catalogues, trade shows and ads.
• Explainer and corporate. For when the argument is hard to shoot, because it lives inside the machine, is abstract, or does not exist yet.
• Simulation. Water, smoke, fire, cloth and rigid body, solved by physics rather than by hand.
• Live-action integration. A 3D element inside real footage, with camera tracking, matched light and compositing.
• Volume. Dozens or hundreds of pieces sharing one brand and one light. There is a whole page about that.

If the product can be filmed and you have access to it, filming is usually cheaper and faster. 3D wins when the object does not exist yet, when you need to see inside it, when the shot would be expensive or dangerous to capture, or when the same asset gets reused across dozens of pieces.

I say that before quoting, not after. Selling a 3D project that did not need to be 3D does not sustain a relationship.

A Blender pipeline, with automation written for the project when the volume justifies it. On post-production for the feature Meu Avô é um Nihonjin, what made an entire film fit into six months was not manpower: it was writing an automated pipeline before production started, and running the film through it.

The team is a fixed core plus a network of specialists brought in per project. That is what makes it possible to take on a single piece and a feature film without changing studios.

An animated feature on Amazon Prime, selected for Cannes, Annecy and Ventana Sur. A commercial for PitchiPoy, an Israeli animation studio running since the 1980s. Car livery VFX for a production company in Zagreb, Croatia. AI video for a private car club in Lagos, Nigeria. Product visualisation for a veterinary pharmaceutical company in the United States.

Five countries, in English and in Portuguese, delivered remotely. The studio is in São Paulo; the work has never depended on being in the same room.

• How much does a 3D animation cost? The range is enormous, and running time explains very little of it. What moves the number is the technical approach, how many shots and characters have to exist for the first time, the level of realism, how many revision rounds, and the deadline. A video solved on top of material that already exists and a minute with a character, simulation and live-action integration are called the same thing and are nowhere near the same price. There is a whole page on what moves that number.
• How long does a 3D animation take? The schedule is driven by how much new material has to be built, not by the final running time. Script and look approved before animation starts is the milestone that holds the date, because after that the work is execution. As a sense of scale: post-production on the feature Meu Avô é um Nihonjin, with the entire film passing through GGfx compositing, was a six-month contract. For a single piece, the typical turnaround is [CONFIRMAR].
• How many revision rounds are included? The logic is to concentrate changes where they are still cheap. Correcting script and look before animation costs little; changing anything once everything is rendered sends the whole queue back and costs a lot. The number of rounds included is written into the quote before work starts: [CONFIRMAR] on the visual base and [CONFIRMAR] on the final animation. Revisions beyond that are not forbidden, they are quoted, and you get the number before the work.
• Who owns the files at the end? The final video is yours, with no usage limit and no time-based licence. The 3D project file is a separate matter: by default it stays with GGfx, and it joins the delivery when you ask for it, as its own line in the quote. Worth settling that before the work starts, not after. GGfx may show the result in the portfolio, and one word from you keeps the work from appearing anywhere.
• What does the production process look like? You send the reference, what you already have and the date. A scope comes back, with schedule and price. With script and look approved, animation starts, and you see the first finished version before the final polish. After the agreed revisions, delivery goes out in the agreed formats, plus the high-resolution file. The order of those stages exists so that corrections happen while correcting is still cheap.
• Do you shoot footage? No. GGfx has no camera crew and does not shoot interviews or locations. What we do is 3D and 2D animation, visual effects over footage that already exists, and AI-generated imagery directed by 3D. If your project needs new camera material, the route is to shoot it with a production company and bring the footage here, which is how most of the visual effects work arrives.
• Can we work with a studio in another country? Yes, and that is how most of the work runs. GGfx works remotely, in Portuguese and in English, with clients in Brazil, the United States, Israel, Croatia and Nigeria. The studio is in São Paulo and the work has never depended on being in the same room. The oldest piece in the portfolio, from 2022, is a commercial for an Israeli animation studio running since the 1980s.