Every product, shot without a studio.
Colourway, angle, lighting and material are parameters — so the whole matrix of variants comes out of one setup, and comes out again next season.
One setup. The whole catalogue.
Real geometry and real materials
This isn't an image model guessing at your product. It's your actual model, lit and rendered — so the logo sits where it sits, the proportions are the proportions, and the stitching doesn't move between shots.
Run every colourway and every angle from one setup
Colourway drives the material. Angle drives the camera. Build the shot once and the matrix falls out of it — six finishes across nine views is one run, not fifty-four jobs.
See it before the sample exists
Render straight from CAD or from a sketch while the product is still in prototyping. Merchandising, packaging and marketing can start on the real thing months before a physical sample lands on a table.
Motion falls out of the same graph
A turntable, a slow spin, a material reveal — the camera and the animation are operators next to everything else. You don't rebuild the shot in a second tool to get movement out of it.
Finish to spec without leaving
Crops, safe areas, background swaps, export sizes and file naming are part of the graph. The set comes out in the shapes your marketplace, your site and your retail partners actually ask for.
Same catalogue, two shapes.
Today
A 3D artist sets up the shot, then renders each colourway by hand. Every angle is another pass. Then the line changes — a new finish, a revised handle, a different trim — and the whole set is rebuilt from the top, one file at a time.
With nooodles
The shot is authored once with the variable parts exposed. One parameter drives the set. A new finish is a new row, not a new project — and next season's catalogue starts from the setup that already worked.
The same product becomes something your customers turn themselves.
Rendering the catalogue is a workflow — it hands your team files to place on a site, in a deck, on a marketplace. But the same geometry, the same materials and the same colourway parameter can also ship as a scene: a configurator a customer opens and drives.
Nothing is rebuilt to get there. The product that produced your imagery is the product on the page — so when the finish range changes, the stills and the configurator change together.
The catalogue set
Every colourway, angle and crop — files your team places across site, retail and print.
- Mode
- Workflow
- Who opens it
- You and your team
The configurator
A customer spins the product, swaps the finish, and sees the one they're actually buying.
- Mode
- Scene
- Who opens it
- Your audience
Start from something that already works.
These ship with the beta — open them, run them, or take them apart.
Colourway Runner
WorkflowRender every colourway and angle from one product.
by Jacques ParysTurntable Set
WorkflowProduce 360 spins from a single model.
by Jacques ParysStudio Relight
WorkflowRelight any product shot from HDRI presets.
by Jacques ParysProduct Configurator
SceneSpin it, swap it, configure it, in the browser.
by Jacques ParysWhat product teams ask first.
Do we need CAD files to start?
They help, and they're the fastest route to an accurate render. But a product doesn't have to arrive as CAD — you can build geometry in the graph, bring in a scan or an existing 3D asset, or start from a sketch while the real model is still being made. What matters is that the product is geometry, because that's what makes it hold still across a hundred variants.
How does it keep the product accurate?
Because nothing about the product is being guessed. The shape is your model; the finish is a material with real values; the label is real type or real artwork placed where you placed it. Generation is a node you point at the parts that should vary — a backdrop, an environment, a surface treatment — and it never gets a vote on the silhouette.
Can it do lifestyle and in-context shots, or only packshots?
Both. The product can sit in a modelled environment, on a generated backdrop, or in a composited scene, with the lighting solved once and reused. The useful part is that the context is a parameter too — the same product runs against a studio sweep, a kitchen counter and a seasonal set without being re-shot.
What about motion?
It comes from the same graph. Turntables, spins, exploded views, material reveals and camera moves are operators alongside the still setup, so a video variant isn't a separate project — it's another output of the shot you already built.
Can we run this on client IP under NDA?
nooodles runs where you choose — hosted by default, and on your own hardware when the work can't leave the building. Because the workflow is an explicit graph you authored rather than a prompt, the result also carries documented human authorship: the strongest authorship position AI-assisted work can hold. See motion design studios for how that's set up.
Build the shot once.
Free to start, nothing to install. Or tell us about your catalogue and we'll walk you through it with your own product.
Working with a team?
Tell us where to reach you and we'll set up a walkthrough.
No spam. A real reply from a human.