Anamorphic 3D advertising - how are animations that pop out of the screen created?
Spis treści:
What is 3D anamorphic advertising?
Anamorphic advertising uses a specially designed perspective to create an illusion of depth on a flat screen. The viewer does not need glasses or any additional equipment, which is why the format is often referred to as naked-eye 3D. The screen can create the impression of a window leading into a much larger space. An object can appear to be deep inside a building or, conversely, cross the boundary of the screen and reach out toward the viewer. This is not a hologram or a real three-dimensional image. The entire effect is based on an optical illusion. The perspective lines, object scale, and virtual camera settings are prepared so that the image looks spatial from a specific viewing point. That is why the term "3D DOOH advertising" is significant here. It is not just about creating an animation in 3D software; it is about designing it for a specific digital display in a real-world space.
Why isn't standard 3D animation enough?
An animation might look great on a monitor, a website, or a classic advertising screen while completely failing to utilize the potential of an anamorphic display. The reason is simple: such a screen must be taken into account during the design phase. Its proportions, the number of surfaces, corners, the image-joining point, and the spot from which viewers most often look at the ad all matter. The virtual camera must correspond to this perspective. This sometimes leads to a situation where the image viewed directly in the software may look heavily distorted. Only after it is displayed on the correct screen and viewed from the right spot does everything come together into a single space. That is why a finished spot cannot simply be "converted to anamorphic." The display should be part of the creative thinking process from the very beginning.
First the screen. Then the idea.
Producing an anamorphic ad does not start with modeling a product or creating flashy movement. First, you must understand the location where the material will be viewed. We analyze the screen's construction, its proportions, and the main viewing point. The surroundings are also important: the building, the street, the direction of pedestrian traffic, or the distance from the display. All of this can influence the concept itself. A screen corner does not have to be a problem we try to hide; it can become part of the set design. Multiple surfaces can create a single digital interior. A product can utilize the scale of the facade or interact with the architecture. The 3D effect should stem from the idea, not be tacked onto it. If the only concept is "let's make something come out of the screen," it is easy to end up with a demonstration of technology rather than a good advertisement.
The space should work for the product and the brand
The most interesting anamorphic projects are not those where the most things fly toward the viewer. It is much more important why we are using the space. A product can cross the screen boundary to emphasize its form more strongly. A digital interior can reveal its construction. A change in scale can turn a small object into the main protagonist of an entire facade. There are many possibilities, but the technology should support the message. This is especially important now, as these types of projects will become more frequent. The moment an object "comes out of the screen" will eventually stop being a sufficient differentiator. A viewer might remember a flashy animation while completely forgetting which brand was behind it. Technology attracts attention. The idea determines what the viewer remembers from that attention.
What does the production of an anamorphic ad look like?
After defining the display and the creative direction, the actual 3D scene is created. Depending on the project, we prepare models, materials, lighting, the product or character's environment, and the animation itself. One of the most important elements is the camera. Its position influences whether the created space will look natural, whether the product will maintain the correct scale, and whether the individual screen surfaces will create one cohesive image. Only in such an environment do we design the movement. Finally, the animation is rendered according to the parameters of the specific display and prepared in the formats required by its operator. Resolution, frame rate, codec, or spot length can vary depending on the screen, which is why production should always be based on the current specification. This is one of the things that strongly distinguishes this format from creating a universal film that is later adapted to several aspect ratios.
3D DOOH advertising is also emerging in Poland
A great example of this format's development is the Warsaw STAGE at Złote Tarasy in Warsaw. It is a three-sided LED screen with a surface area exceeding 800 m², designed to allow for creative content that spans multiple connected surfaces. Its structure perfectly illustrates why anamorphic DOOH requires a different approach to content creation. The footage can flow between walls, utilize the building's corner, and create the illusion of a single, vast space existing behind the screen. However, Warsaw STAGE is just one example. Every screen has different geometry, proportions, and viewing conditions, which is why the same creative should not be mindlessly transferred between different displays.
3D DOOH advertising - see how we design creatives for specific screens →
Why do 3D ads have the potential to go beyond the screen itself?
An interesting feature of this format is that a campaign can operate in two spaces simultaneously. The first is, of course, the broadcast location. The large screen and unique spatial effect are designed to capture the attention of people in the immediate vicinity.
But then, the second space comes into play: the internet. People record these unique displays with their phones, post them on social media, and share them further. Campaign footage can also appear in the brand's own communications, industry media, or PR activities. You cannot engineer a viral hit or guarantee a specific number of organic shares. However, you can increase the chances that the creative will be interesting enough for viewers to want to record it. That is why it is crucial that the key moment is clearly visible in a phone recording and that the brand remains recognizable even without knowing the full context of the campaign. A well-designed DOOH campaign can thus start working far beyond the location where the screen is installed.
Anamorphic 3D advertising vs. FOOH - what is the difference?
These formats are often confused because both can feature spectacular events that seemingly take place in real space. However, the difference is fundamental. In 3D DOOH, the advertisement is actually broadcast on a physical screen. The creative must therefore be prepared for a specific display, its geometry, and the viewing angle. A passerby can actually see it on-site. FOOH, or Fake Out of Home, is primarily video content. It can show a massive product on a building, an impossible installation, or an event that never actually took place. In 3D DOOH, we design an illusion for the screen and the viewer standing in front of it. In FOOH, we design an illusion primarily for the camera and the viewer watching the finished video.
See how we create FOOH animations →
When does anamorphic advertising make sense?
Not every campaign needs a naked-eye 3D effect. If you need to convey a lot of text, a complex offer, or several pieces of information of equal importance, a classic DOOH animation might simply be a better solution. 3D DOOH is particularly interesting when the product itself allows for playing with form, material, scale, or space. It also fits well with product launches and brand campaigns where a strong first impression is key. It is also worth considering this format when the campaign has the potential to live on in social media. You have to ask yourself: "Will using the space allow us to say something more interesting about this product?" If the answer is "no," a well-designed DOOH screen animation might work better.
What do you need to know before starting production?
The most important thing, of course, is the campaign goal and the idea itself. The studio needs to know what we are communicating, who we are talking to, and what the audience should remember. Next, you need the specific media format and its current specifications. The sooner we know the screen, its parameters, and the broadcast date, the sooner we can treat its structure as an element of the creative process. For products, you may also need 3D models, technical documentation, photos, dimensions, or information about materials. Not having a ready-made model is not a problem—you just need to include its preparation in the production process. It is also worth separating two roles. The operator is responsible for the surface and the broadcast. The animation studio is responsible for the concept, design, animation, and preparation of the final content in accordance with the media requirements.
Increasingly interesting screens require increasingly better content
The development of 3D DOOH shows a larger shift taking place in outdoor advertising. A screen is less and less likely to be treated solely as another rectangular format to which we adapt a finished spot. Its scale, proportions, location, or construction can become part of the idea itself. Anamorphic 3D is one of the most spectacular examples of this approach. This does not mean that every brand should now use naked-eye 3D. It does mean, however, that the capabilities of media are developing very quickly, and the way content is designed should evolve along with them. Because a large screen in itself does not create a good advertisement. An idea that can leverage its capabilities does.
