Exparel.

Exparel.

Eight patients. Eight hospital rooms. Eight lives waiting on the other side. Full production for EXPAREL's Get Up and Go campaign, shot, built in CGI, and composited into a single continuous world.

Eight patients. Eight hospital rooms. Eight lives waiting on the other side. Full production for EXPAREL's Get Up and Go campaign, shot, built in CGI, and composited into a single continuous world.

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Client

Client

Exparel

Exparel

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Campaign

EXPAREL is the foundation of an opioid-sparing, multimodal approach to postsurgical pain management. The "Get Up and Go" campaign translates that clinical promise into something immediate and human: patients getting out of a hospital bed and stepping straight back into the lives they were living before surgery.

The series spans eight patient scenarios: bariatric, orthopedic, women's health, pediatric, general surgery, each showing a single transition from a hospital setting into a real-life moment: a park, a gym, a kitchen, a front door. One image, two worlds, no cut.

EXPAREL is the foundation of an opioid-sparing, multimodal approach to postsurgical pain management. The "Get Up and Go" campaign translates that clinical promise into something immediate and human: patients getting out of a hospital bed and stepping straight back into the lives they were living before surgery.

The series spans eight patient scenarios: bariatric, orthopedic, women's health, pediatric, general surgery, each showing a single transition from a hospital setting into a real-life moment: a park, a gym, a kitchen, a front door. One image, two worlds, no cut.

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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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