3D Event Pop Outs.

The product reveal lands, the screen behind your speaker fills with a logo, and the room stays politely quiet. The problem is rarely the content. It is that flat slides and static lower-thirds give an audience nothing to react to. 3D Event Pop-Outs fix that by making graphics appear to leave the screen and move into the room, so the reveal reads as a moment rather than a slide. We build them on our Southbank green-screen floor, composite them around your speaker in real time, and send a finished feed to the room, the stream, or both.

What it actually is

A pop-out is a 3D or augmented graphic that breaks the edge of the frame. A product turns and lifts off the surface, a headline figure swings forward and hangs in front of the presenter, a brand object orbits the host as they talk. On a live broadcast the eye reads depth long before it reads text, so a graphic that appears to occupy the same space as the person on stage holds attention in a way a flat slide cannot. It is the same technique broadcasters use for sports stats and election graphics, applied to your launch, keynote, or live show.

Because the work is composited against green screen, the graphic and the presenter share one frame and one set of lighting. The object can pass in front of the host and then behind them, react to a cue, or settle next to a chart while they explain it. Nothing is bolted on in the room afterwards. What the audience sees is one continuous, believable shot.

How we deliver it

We start with a pre-production call to agree the three or four moments worth the spectacle, because a pop-out earns its keep when it marks a beat, not when it runs constantly. From there our team models or adapts the 3D assets from your brand artwork, blocks the camera moves, and rehearses the timing against your script.

On the day we shoot on the green-screen virtual studio at our Southbank base. Your presenter performs to marked positions, an operator triggers each graphic on cue from the gallery, and we composite live so you can see the finished result on the monitor as it happens. If the event is streaming, the same feed goes straight out to your platform. If it is for a stage or a film, we record clean and grade after. You are in the gallery watching it work, not waiting weeks to find out whether it landed.

What you get

• Two to four signature pop-out moments built from your brand assets and mapped to your script
• A green-screen shoot on our Southbank studio floor with broadcast cameras and a lit set
• Live compositing in the gallery, so the graphics are checked and signed off on the day
• A presenter-and-graphic feed ready for live streaming, a stage screen, or post
• Clean recordings and the finished composite for reuse across social and follow-up campaigns
• A rehearsal pass so your speaker knows exactly where to look and when each beat hits

Where it earns its place

Pop-outs work hardest at the moments an audience is meant to remember. A product launch where the device needs to feel real before anyone can touch one. A results or keynote presentation where a single number should stop the room. A sponsor activation that has to look unmistakably broadcast-grade next to the logo. A live show or awards segment that needs a lift between talking-head sections.

They suit anyone presenting to a camera, whether the audience is in the room, watching the stream, or both. If your event already runs through a screen, a pop-out turns that screen from a backdrop into part of the act.

Why it beats a slide deck or a flat motion graphic

A standard deck or a flat animation sits behind the speaker on a separate plane. The audience sees a person, and separately, a screen. The reveal competes with the presenter instead of belonging to them, and the eye drifts. You can spend a serious budget on a film nobody quite remembers because nothing in it ever broke the surface.

A pop-out puts the graphic and the speaker in the same space, so the moment reads as one thing happening in front of you. The risk a deck carries, a flat reveal that the room sits through without reacting, is the risk we remove. You also avoid the cost and weather risk of building a physical set piece for a single beat, because the spectacle is created in the studio and travels with the footage.

Common questions

How much does it cost?

It depends on how many pop-out moments you need and how custom the 3D assets are. Adapting your existing brand artwork into two or three moments is the most cost-effective route, while fully modelled bespoke objects cost more. Tell us the event and the moments you want to hit and we will give you a clear figure, not a pricing maze. One studio day usually covers several finished moments, which spreads the cost across the whole show.

Do we need a finished script before we start?

No, but we do need to know roughly where the key beats fall, because a pop-out is timed to a cue. We will help you find the right moments on the pre-production call. The more settled the script is by the rehearsal, the tighter the timing on the day, so we lock the cues with you before the cameras roll.

Can this go out on a live stream as it happens?

Yes. We composite the graphics live in the gallery, so the same finished feed that you see on the monitor can go straight to your streaming platform. There is no separate post stage required for a live event. If you also want a graded version for later, we record clean alongside the live feed.

What do you need from us?

Your brand assets, any product files or 3D models you already have, and a sense of the moments you want to land. If you only have flat artwork, we build the 3D from it. Bring your presenter to the rehearsal and we handle the cameras, lighting, green screen, and the gallery.

The simplest next step is to come and see the green-screen floor and watch a pop-out composited in front of you, so you can judge the effect before you commit a budget to it. Book a studio walkthrough at our Southbank base, or send us the date and the three moments you most want the room to remember, and we will talk it through.