What should the film feel like?
2D and 3D each cover a huge range of styles. A 2D film might use bold graphics, loose drawings or detailed character animation. A 3D film can look realistic, handmade or deliberately flat. Neither is automatically the more impressive or affordable option.
Think about what you want people to see and feel. Does the idea call for a drawn character, a simple diagram, a close look at a product or a world the camera can explore? That gives us something useful to work with.
When 2D works well
2D is a natural fit for illustration, lettering and graphic design. A shape can become a character, a diagram can turn into a scene, and an abstract idea can become something you can see. It gives us plenty of freedom to play with the way one image leads to another.
Simple-looking work can still take considerable time. A few moving shapes and a fully drawn character performance involve different amounts of work. If you like a reference, ask how the movement was made before assuming it will be quick to reproduce.
When 3D works well
3D lets us build characters, objects and spaces, then light them and view them from different angles. That can help with product demonstrations, character stories and interactive experiences. The models may also be useful for future films, depending on how they are built.
There is preparation before anything moves: modelling creates the shapes, rigging gives an animator controls to move them, and look development establishes surfaces and lighting. A good model still needs a well-designed character and a convincing performance.
Think about the changes you are likely to need
A 3D model can be viewed from different angles, but that does not make every new shot effortless. Lighting, movement, composition and rendering still need attention. A drawn scene may be quick to change at the sketch stage, while a new angle in finished frame-by-frame animation can require substantial redrawing.
Explain whether you expect a single film, recurring characters or a product range that changes over time. The team can then suggest where reusable assets are worthwhile and where a simpler one-off approach makes more sense.
You do not need to choose a technique before speaking to a studio. Bring the message, likely uses and references you respond to. Ask what each approach would allow—and what it would make more difficult—on this particular project.
Look at work that does a similar job
Our Spotify event graphics use bold 2D design, while Boy and the Dinosaur has a stylised 3D world. They suit different ideas; they are not rules about which technique a brand or story should use.
You can also combine approaches. Drawn effects or graphic titles can sit alongside a 3D scene. Share the work you like, explain what appeals to you, and ask the studio how it would approach your particular film.
Check the movement as well as the look
A diagram might explain a process perfectly well in 2D. A product shown from several angles may be easier to demonstrate in 3D. Start with what needs to happen on screen.
Ask how the most demanding shot would be made. A beautiful still can show the style, but it cannot tell you how much work the movement or later changes will involve.
- Explanation: could text, icons and illustrations communicate the idea clearly?
- Product: do dimensions, materials and camera angles need to be accurate? Are suitable models available?
- Character: look at the acting and expressions, whichever technique is used.
- Future versions: ask what can be reused and what a new angle, outfit, language or format would involve.
