Xerava.

Xerava.

We led the full creative production: Photography, CGI, Post & Animation to bring a fearless visual world to life for this pharma launch campaign.

We led the full creative production: Photography, CGI, Post & Animation to bring a fearless visual world to life for this pharma launch campaign.

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Client

Client

Xerava

Xerava

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Campaign

Tryngolza is the brand name for Ingolzic, the first FDA approved treatment for Familial Chylomicronemia Syndrome (FCS) a rare, life-threatening condition that causes uncontrolled triglyceride levels. The campaign needed to convey two distinct patient journeys while capturing the emotional weight of finally having a treatment that works.

Our role was to produce a mixed-media campaign combining live-action photography, 3D CGI, and post-production compositing. Two characters: a woman representing a clinically diagnosed patient, and a man representing a genetically positive patient were photographed on seamless in our Barcelona studio. 

Tryngolza is the brand name for Ingolzic, the first FDA approved treatment for Familial Chylomicronemia Syndrome (FCS) a rare, life-threatening condition that causes uncontrolled triglyceride levels. The campaign needed to convey two distinct patient journeys while capturing the emotional weight of finally having a treatment that works.

Our role was to produce a mixed-media campaign combining live-action photography, 3D CGI, and post-production compositing. Two characters: a woman representing a clinically diagnosed patient, and a man representing a genetically positive patient were photographed on seamless in our Barcelona studio. 

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Solution

(02)

The FCS itself was visualized as a creature: a fiery red dragon for inflammation, and a dark, furry beast for necrosis. Both monsters, along with the chylomicron balloons were fully designed and modeled in 3D by our team, then composited with the live photography to create the final campaign imagery.

To extend the campaign into motion, we also produced cinemagraphs and animated sequences, integrating the 3D characters directly into live-action footage for a seamless hybrid result.

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Title

(03)

Production began months before the shoot. Our 3D team sculpted the FCS creatures from scratch in ZBrush, developing two distinct visual languages — one driven by fire and dragon scales, the other by dark fur and predatory mass. Simultaneously, we built fully lit 3D environments to use as references on set, so the photographer and talent could interact with the scene as if the creatures were physically present.

Production began months before the shoot. Our 3D team sculpted the FCS creatures from scratch in ZBrush, developing two distinct visual languages — one driven by fire and dragon scales, the other by dark fur and predatory mass. Simultaneously, we built fully lit 3D environments to use as references on set, so the photographer and talent could interact with the scene as if the creatures were physically present.

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Conclusion

(04)

On shoot day, characters were photographed with precise lighting setups designed to match the pre-rendered 3D environments. Post-production then handled the full compositing — integrating the CGI monsters, color grading the campaign imagery, and animating the cinemagraph and video deliverables.

On shoot day, characters were photographed with precise lighting setups designed to match the pre-rendered 3D environments. Post-production then handled the full compositing — integrating the CGI monsters, color grading the campaign imagery, and animating the cinemagraph and video deliverables.

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