Live Action.
Direction, performance and light, captured in camera. Casting that can carry a brand, photography that flatters the product without lying about it, and a set discipline that keeps thirty people moving at the speed of one idea.
What we do
LOBO has lived on the leading edge of moving pictures since 1994. From early 2D cel through CGI, VR and real-time engines to a generative pipeline built in house, every wave that has changed the medium has passed through this building, and none of them retired the ones before. Craft usually means slow, and speed usually means cutting corners. The studio is built so brands never have to choose.
Three decades of it. Every frame made by hand, to a standard the vertical never lowers.
AI-amplified where it helps. We ship at the pace brands actually move, without trading a frame of craft to get there.
Film, CGI, animation, immersive, AI. No handoffs, no seams, no lost intent.
Not just beautiful. Work built to win attention first and convert it second.
Before a frame exists
Technique is the second question. The first is what the work has to do, and whether a film is even the right answer. LOBO is hired for the thinking as often as for the making, and the two are not sold separately, because the studio that has the idea is the one that knows what it costs to keep it intact.
The category read, the audience, and the one thing worth saying. We pressure-test the brief before anyone falls in love with a treatment, and we will tell you when the answer is not a film.
The world before it is built. Look, tone, palette, references and moving tests, so a brand can see the film in its head while there is still time to change it.
Ideas written to be made. We are as comfortable answering a blank page as a locked board, and we arrive with the thinking rather than only the estimate.
One person carrying the intent from the first conversation to the last frame. Nothing is translated twice, because nothing changes hands.
Key visuals, type, colour and motion rules built to hold across a campaign, and to survive being handed to a media team in a market you have never visited.
How one idea becomes a year. Formats, versions and markets mapped at the start, with the AI pipeline sized to make that affordable instead of improvised at the end.
Then the category. Seven rooms, each one a different set of rules about what an audience will believe.
Films that make food culture move.
From craft beverage launches to global QSR campaigns, where LOBO’s signature warmth and tactile craft meet the most demanding shelf in advertising.
AI in service of the craft.
An R&D pipeline that gives brands more for the budget and gives our artists more room to create, compressing schedules without ever trading away the hand.
Artful films for the world’s most complex medicine.
Animation, live action, immersive tech and stop motion craft built to make the hardest stories impossible to ignore, and impossible to forget.
Where play leads and money follows.
Game cinematics, AR, VR and real-time production alongside banking and investment work, from a studio equally fluent in the language of play and the language of money.
Three decades shaping the visual language of desire.
Luxury maison to mass beauty. Product cinema, fragrance worlds, and the craft that makes an audience want something they cannot touch.
The shelf is a stage.
Appliances, toys and household names, given films with character. LG opens the room; UPS follows.
Metal, motion, a hundred years of it.
Car film is the hardest craft brief in advertising: paint, glass, light and speed, all unforgiving. Chevrolet 100 Anos leads the room.
And then the technique. Everything below is how the idea gets made, and the idea decides which.
Direction, performance and light, captured in camera. Casting that can carry a brand, photography that flatters the product without lying about it, and a set discipline that keeps thirty people moving at the speed of one idea.
Macro cinematography. Surface, light and the single pour, captured at thousands of frames a second. The most demanding shelf in advertising is won or lost in these frames, which is why a pour gets the same direction a performance does.
Built from nothing when the shot cannot exist in a studio. Worlds, characters and product physics modelled, lit and graded in house, so the impossible frame still obeys the same taste as the photographed one.
Drawn frames, hand-timed, with the wobble left in. Thirty years of 2D craft from cel to cut-out, the technique this studio was founded on and the one that still carries its warmest stories.
Felt, paper, clay and the product itself, moved frame by frame by hand. The slowest technique in the building, and the one audiences forgive least when it is faked.
Custom models trained on our own frames. AI in service of the craft, never instead of it: the pipeline compresses schedules and budgets and gives the artists more room, not less.
Questions
The things brands ask before they brief us.
We are a creative studio and production company, thirty years old, with every technique under one roof: live action, tabletop, CGI, 2D and 3D animation, stop motion, and an AI-amplified pipeline. We work across seven industries, from food and beverage to pharma, auto, beauty, gaming and new tech. The idea decides how a film gets made. The technique follows.
It means we can work with your team directly, without a creative or media agency in between. That removes a layer of markup and a layer of translation. It does not mean we compete with agencies: most of our work arrives through them, and we are just as comfortable that way.
Three cities, one building: New York, São Paulo and London. Production happens wherever the brand lives, and the studio stays the same.
No. Print, OOH, key visuals, packshots, social cuts and vertical formats come out of the same builds. On several campaigns here the poster and the film were rendered from one asset, which is why they match.
Both, and we do not sell them separately. LOBO is hired for the thinking as often as for the making, because the studio that has the idea is the one that knows what it costs to keep it intact.
Yes, inside the pipeline rather than instead of it. AI is used where it buys the artists more room: previsualisation, variation, cleanup, versioning. Every frame that ships is still art-directed. AI in service of the craft, never instead of it.
Yes. Several of the cases on this site are full campaigns: film, market adaptations, print, OOH and social, delivered end to end.
Tell us what you are building and what it has to do. If a film is not the right answer, we will say so.
