Since 2018
We have been making product films, CGI explainers and brand work for the robotics and automation companies that exhibit at these shows. The machines on this page are the ones we already know how to rig, light and animate.
See the robotics work →The exhibition content playbook
A 90-second product film takes six to eight weeks, which is why film starts at week 12 and gates everything behind it. Backwall artwork has a print release date that cannot be pushed. Brochures need freight time. Booth media freezes a week out whether your file is ready or not. Seven tracks, one calendar, and the first one starts sooner than you think.
Every film downstream is built on this. Hand it over late and the slip is not one week, it is the whole animation and grade sequence.
No dielines, no backwall artwork. Your stand builder cannot start, and the print queue does not care why.
Irreversible. Once artwork goes to press, a wrong dimension or a stale spec costs a reprint — and a reprint costs the show.
Screens are loaded and tested on site. Whatever is not delivered by this date simply does not play on your stand.
The short window where the people who walked your stand still remember it. Miss it and the leads go cold before the follow-up lands.
Working backwards
The five gates above are the ones that cannot move. Below is the full working set as actual calendar dates, counted back from the opening morning of the show you are exhibiting at. The irreversible ones are marked.
Dates as published by the organisers and correct at the time of writing. Confirm against the official show site before you book freight or release artwork to press.
Each track has its own lead time and its own failure mode.
The hero film for the main wall, plus a silent booth loop cut to your LED's native resolution. 60–90 seconds, 16:9 aspect ratio.
If it slips: the biggest screen you are paying for has no anchor, and every social teaser cut from its rushes slips with it.
One 45–60 second film per hero SKU, two to three produced in parallel in 4K, CGI or hybrid. Plus a three to four minute sales reel that lives offline on every tablet on the stand.
If it slips: your sales team demos from a phone gallery, and the SKU you came to launch has nothing to show.
Technical CGI explainer, 60–120 seconds in 4K with callouts and voiceover plus a silent cut.
If it slips: your engineers answer the same mechanism question forty times a day instead of qualifying buyers.
Backwall, panels, fascia, totem, counter and floor, built to your stand builder's dielines. 150dpi at 100%, CMYK, with text kept above the one-metre sightline.
If it slips: you miss the print queue. This is the one deadline where late costs money rather than time.
Six pre-event teasers with booth number and hall in frame, three carousels, four 9:16 reels cut from film rushes with the hook inside two seconds, and a live-from-booth kit for the team on the stand.
If it slips: you arrive at a show nobody knew you were attending, and walk-ups replace booked meetings.
Signature strip at 600×120 @2x under 100KB with a UTM link, plus email headers, LinkedIn and web banners. Every outbound surface you already own, carrying the booth number and hall.
If it slips: nothing visibly breaks, which is exactly why it never gets done. It is also the cheapest reach you will buy all quarter.
Flagship four-page brochure at 300dpi CMYK — A4 for the European and Japanese shows, US Letter for ProMat, MODEX and Automate — plus per-SKU one-pagers carrying specs, dimensions and certifications, and a digital leave-behind with a QR code on the stand. Or skip paper altogether and put an interactive experience on the tablets, which does the job the brochure was only pretending to do.
If it slips: freight closes. Printed brochures that arrive after the show are a cost with no return. Your tablet kiosks stay unattended, often stuck playing videos you would rather have playing on your main display.
Scope and pricing
Each tier builds on the one before it. Pick by how much of the stand you need covered and how much runway you have left. If your show is closer than the lead time, skip to Show Salvage below — it exists because that is the most common call we get.
The minimum a stand needs so the screens are not empty.
Everything on the stand, plus the run-up that fills it.
Everything in Stand Ready, plus:
The whole calendar, run to the gates, through to follow-up.
Everything in Show Complete, plus:
Indicative ranges for a robotics stand, scoped per show. Final cost depends on SKU count, how much geometry needs building from scratch, and how many surfaces the stand carries. One approver per track is assumed; each extra review round adds a week.
Late runway
Most of this page assumes twelve. If you have six, or four, you are the person we can move fastest for — and the honest answer is not no, it is less.
What is still deliverable once the runway has gone.
If your show opens inside three weeks, write to us directly rather than filling in the form — at that range the first question is what is already shot, and that is a conversation, not a brief.
Your side of the calendar
None of it takes long. All of it gates something downstream, which is why every slipped project we have seen slipped here and not in production.
STEP or native geometry, plus the spec sheet the film has to stay honest to. If the kinematics are unusual, a short call with your mechanical lead saves a week of guessing.
Logo files, type licences, colour references, and any footage or renders already sitting on a drive. Reuse is the cheapest week you will ever buy back.
From your stand builder. We need the LED's real pixel dimensions, not an assumed 16:9, and the furniture plan so nothing important sits behind a counter.
Named, not a committee. Consolidated feedback in one pass. Each extra review round adds a week, and at week 3 there are no weeks left to add.
Every teaser, signature strip and banner carries them. Without them the social run-up drives people to a show rather than to your stand.
Which SKUs cannot be seen before the show opens, what can appear in silhouette, and when the embargo lifts. This shapes the whole social calendar.
Before you ask
Not for everything. Backwall artwork, an LED loop cut from footage you already own and the full social kit are all still deliverable. New CGI product films are not — six weeks is the floor and a render queue does not compress. See Show Salvage above.
Usually. Most existing films need a regrade, a reframe to your LED's actual aspect ratio and a silent cut before they hold a stand. That is days rather than weeks, and it frees budget for the tracks you do not have yet.
Then we build to their dielines and hand back print-ready PDF/X-1a at 150dpi at 100 percent. We would rather work with your builder than around them; they own the structure, we own what goes on it.
For LogiMAT, Hannover Messe, automatica and IREX, yes — at minimum burned-in subtitles and localised brochure copy, because the hall is too loud for audio to carry anyway. We handle subtitle timing, VO direction and the layout reflow that longer German strings force.
You do, on final payment — masters, project files and layered artwork. We keep a working copy for the recap cut and ask before showing anything publicly.
Standard for this industry. We work under NDA and routinely build and animate geometry that stays on our machines until your keynote. Tell us at week 12 which SKUs are embargoed and what can be shown in silhouette.
Yes. Send the kit at week 12 and everything is designed to it from the first frame, rather than corrected into it at week 3 when there is no time left to correct anything.
Delhi. We work to European, US and Japanese show calendars, and the gate dates on this page are the ones we hold ourselves to. Reviews run on your working hours, not ours.
Tell us the date
Send us the show and the opening date. We map your seven tracks onto a working-backwards calendar, tell you honestly what fits in the runway you have left, and come back with a scoped plan within two working days.
