BARCELONA creative studio Trizz has released a short film revealing the philosophy behind its work: The Trizz Method, an approach built not around a single technique, but around finding whatever combination of live action, CGI, tabletop and AI-led exploration is the most compelling way to realise an idea.
The method recently shaped Trizz’s work for Genesis, Hyundai’s luxury automotive brand, including a sequence of two hands touching that the studio rebuilt in CGI after the live-action version felt “too familiar,” and a light tunnel abandoned in CGI for being “too digital,” then physically built and filmed in-studio instead. Across the campaign, Trizz repeatedly reversed the assumed route to an image, proof, the studio says, that the obvious technique is rarely the right one.
“The technique is never the starting point. The starting point is the image, the material, the feeling and the idea,” says the studio.
Finding the Image
Experimentation sits at the centre of the method. Trizz began in CGI, before expanding into live action and building its own tabletop studio in Barcelona; AI is now a further tool within that process, used for exploration rather than as an end product.
The studio itself functions less like a soundstage than an R&D environment, a place to test materials, light, movement, cameras and digital technique against each other before deciding what the final image should be. A shot might start as CGI and end up physically built, or a practical test might throw up an unexpected texture that redirects an entire sequence. The result resists easy categorisation as “live action” or “CGI,” often deliberately so.
“We never want the technique to dictate the work. We experiment because different processes reveal different things — a texture, a movement, an accident, an image we hadn’t imagined. The interesting part is discovering those moments and then knowing which tools will take the idea further.” Oriol Puig, ECD & Founder of Trizz
Genesis Case Study: When the Obvious Technique Wasn’t the Best One
The brief for Genesis wasn’t to show a car, it was to build a cinematic expression of the ideas around the brand: nature, technology, art, sculpted design, light and emotional connection. Real landscapes and waves were combined with CG birds and abstract structures, the birds rendered digitally so their movement took on an engineered, mathematical precision, drawing a quiet line between nature and technology.
“Sometimes reality is too familiar and CGI makes it poetic. Sometimes CGI is too perfect and a physical experiment gives it life. Sometimes the most interesting image is discovered rather than designed,” the studio says.
Craft in the Age of AI
The launch lands as the industry increasingly frames AI and production craft as opposing forces. Trizz sees it differently: AI is treated as another material, useful for exploration and iteration, but directed by the same creative judgement that decides when an image should instead be shot, built or rendered in CGI. Live action brings texture and imperfection; CGI brings control and precision; AI opens up exploration. The craft is knowing when, and when not, to use each one.
Because Trizz brings direction, live action, tabletop and CGI together from the start of development, the studio can get involved before a project’s visual route is fixed, building project teams from directors, designers, CGI artists and emerging-technology practitioners around what each brief needs, inside a structured pipeline of development, pre-visualisation, feedback and approval.
The film is the first expression of The Trizz Method across Trizz’s channels, alongside a dedicated landing page, behind-the-scenes material and case studies exploring how the approach has shaped individual projects.
