The starting point for dividing live-action and CGI in TVC commercials
When preparing a TVC commercial project, the first step is to break down the creative into an executable shot list. Live-action handles real textures, while CGI handles surreal expressions. The boundary between the two depends on product selling points, distribution scenarios, and budget structure. Brands need to answer three questions first: what must the audience believe, which elements in the frame must exist in reality, and which elements can be entirely fictional. These three answers determine how many physical objects to prepare on set and how many digital assets to build in post-production.
At the initiation stage, the brand should prepare a creative brief, including core product selling points, target audience viewing scenarios, reference frames of competitor TVCs, and mandatory brand elements. After receiving the brief, the production team must mark each frame as suitable for live-action or CGI. The criteria are: if the frame requires real textures, actor performances, or physical lighting, prioritize live-action; if it requires deformation, particles, environment replacement, or internal product structures, prioritize CGI. Both parties must jointly confirm a frame division table at the kickoff meeting, listing whether each shot is pure live-action, pure CGI, or a live-action and CGI composite, and noting the delivery standards for each shot.
The risk is that if the division of labor chart is unclear, it is easy to encounter problems where live-action footage and CGI elements cannot match in post-production. For example, if the lighting angle and color temperature are not recorded during the live-action shoot, the digital lighting will conflict with the live-action lighting during post-production compositing, resulting in image distortion. An exception is that some shots can be completely replaced with CGI instead of live-action, such as a product display in extreme environments, provided that the audience does not feel distrust due to the image being too perfect. The delivery consequence is that the division of labor chart must serve as a contract attachment, and all subsequent changes must be based on this chart.
List of materials the brand needs to prepare
Before project kickoff, the brand needs to prepare five categories of materials. The first category is product materials, including the physical product, high-resolution photos, three-view drawings, material specifications, and dimensional data. If the product is still in the R&D stage, CAD models or engineering drawings must be provided for the CGI team to model. The second category is brand assets, including Logo source files, brand color values, font specifications, and links to past commercials. The third category is communication materials, including the broadcast platforms for this TVC, target audience profiles, competitive analysis, and communication slogans. The fourth category is legal materials, including actor portrait rights authorization templates, music copyright explanations, location usage permits, and product patent certificates. The fifth category is reference imagery, including TVC clips the brand likes, competitor footage, and even screenshots from movies or art films, used to align the aesthetic direction.
After receiving the materials, the production team must complete a feasibility assessment within one week and output a technical proposal explaining which materials can be directly used for production and which need to be supplemented. For example, if the product photos have insufficient resolution, CGI modeling will require reshooting or scanning, and the brand must arrange for product inspection. If there is a specific camera movement in the reference footage that live-action equipment cannot achieve, a decision must be made in advance whether to switch to CGI camera movement. The judgment standard is that the more complete the materials, the lower the probability of post-production rework.
The risk is that the brand often overlooks the product's internal structure or dynamic demonstration needs. If the TVC needs to show internal gears turning or liquid flowing, but the brand only provides exterior photos, the CGI team can only model based on imagination, and the result may not match engineering reality. An exception is when the product is in a confidential stage and complete drawings cannot be provided; the production team can use generic models as replacements, but it must be noted in the contract that the final result is subject to the brand's confirmation. The delivery consequence is that the materials list must serve as a milestone for project kickoff, and production cannot enter shooting or CGI creation until the materials are complete.
Production trade-offs between live-action and CGI
The focus of the division of labor between live-action and CGI is to create a hybrid based on shot requirements. A common division of labor is: the main product is shot live-action, and the background environment is replaced with CGI; actor performances are shot live-action, and product effects are enhanced with CGI; real scenes are shot live-action, but CGI elements such as lighting effects, particles, and motion graphics are added. The production team must determine the compositing complexity of each shot at the storyboard stage and evaluate the usability of the live-action footage.
There are three judgment standards. First, shooting cost: if live-action requires building expensive sets or traveling to remote locations, and CGI can digitally recreate it without the audience easily noticing, prioritize CGI. Second, performance needs: if the shot requires actors to interact with the product, such as holding the product or touching the screen, live-action can preserve real tactile sensations and reactions, while CGI is only responsible for enhancing the product's appearance. Third, time constraints: if the project timeline is tight, the CGI production cycle is usually more controllable than live-action set construction, but it requires a longer post-production time, so it must be planned in advance.
The risk is that hybrid shots of live-action and CGI can easily produce an "uncanny valley" effect, where the audience feels the image is unreal but cannot pinpoint the specific reason. For example, a product reflects the environment in live-action, but after the background is replaced with CGI, the reflection content is not updated synchronously, resulting in a lighting contradiction. An exception is that certain artistic-style TVCs intentionally pursue a non-realistic feel, such as a pure white background or abstract space, in which case CGI can completely replace live-action. The delivery consequence is that each hybrid shot must undergo multiple compositing tests in post-production to ensure consistency in lighting, reflections, and depth of field.
Execution key points for the shooting stage
During the production phase, the production team must ensure the live-action footage meets post-production compositing requirements. Key actions include recording camera parameters for each shot, including focal length, aperture, shutter, ISO, and white balance; shooting gray cards and color charts for post color correction; placing tracking points or markers in the scene to facilitate CGI camera motion tracking; shooting HDR environment maps for lighting matching of CGI elements in post; recording on-site sound reference, though final sound is typically done in post-production.
If a shot requires a CGI background replacement, the background during live-action should be as clean as possible, avoiding complex textures and strongly reflective objects, otherwise keying in post will be difficult. If a shot requires adding CGI elements, leave space during live-action; do not fill the frame with the product, leaving room for digital elements. When actors perform, there must be a clear eyeline reference, such as using markers to indicate the position of CGI objects, otherwise the actors' eyeline will not match the post composite.
The risk is that the lighting conditions on the live-action set are inconsistent with the post CGI environment. For example, live-action uses natural light, but the CGI environment requires artificial light, resulting in noticeable color temperature differences after compositing. An exception is if the TVC is produced with pure CGI, then live-action is not needed, but the brand must provide product scan data and environment references. The delivery consequence is that after shooting, the production team must output a shoot log within 48 hours, including parameters for each shot, footage numbers, and potential issues, for the post team's reference.
Division of labor and collaboration in post-production
Post-production is divided into five stages: editing, color grading, CGI production, compositing, and sound. In the editing stage, the director and editor select the best footage based on the script, determining pacing and narrative. In the color grading stage, the colorist unifies the tone of the live-action footage and provides a color reference for CGI elements. In the CGI production stage, 3D artists create models, textures, animation, lighting, and rendering based on storyboards and live-action footage. In the compositing stage, the compositer merges live-action footage with CGI elements, handling lighting, reflections, depth of field, and motion blur. In the sound stage, the sound designer creates sound effects, music, and mixing.
The brand must participate in key milestone reviews during post, including rough cut, fine cut, CGI preview, composite preview, and final color grade. Each milestone must output a playable version and record revision notes. The standard is that at the CGI preview stage, the brand must confirm whether the product appearance, materials, and dynamics meet expectations, rather than waiting until the final composite to request changes. At the composite preview stage, check whether the boundary between live-action and CGI is natural, and whether there are any goofs.
The risk is that post changes often require re-rendering, which is time-consuming and costly. For example, if the brand requests a product color change at the final composite stage, the CGI team needs to re-adjust materials and render, potentially affecting delivery time. An exception is if the brand provided clear color specifications in pre-production, the scope of post changes will be significantly reduced. The delivery consequence is that each post milestone must have written confirmation to avoid misunderstandings caused by verbal communication.
Final video acceptance checklist and delivery standards
Final video acceptance is the last gate of the project; the brand must check item by item against the following list. First, picture integrity: check for black frames, flickering, and compression errors. Second, brand elements: check whether the logo, product appearance, and brand colors are accurate. Third, composite quality: check whether the boundaries, lighting, and reflections between live-action and CGI are natural. Fourth, sound quality: check whether dialogue, sound effects, and music are clear, and whether there is clipping or noise. Fifth, subtitles and text: check whether subtitle content, font, and position are correct, and whether they obscure key visuals. Sixth, version completeness: check whether versions required for different platforms are provided, such as horizontal, vertical, and different durations. Seventh, source file delivery: check whether the edit project, color grading files, CGI source files, composite project, and audio stems are provided.
During acceptance, the brand should use professional monitors or projection equipment to avoid judging color on a phone or ordinary computer. It is recommended to do this in a standard viewing environment and invite third-party personnel to participate, preventing subjective preferences from affecting judgment. The standard is that each acceptance item must have clear pass or fail criteria; failed items must record specific issues and set a revision deadline.
The risk is that brands often ignore platform technical specs, resulting in compromised image quality after the final video is uploaded. For example, some platforms require specific encoding or bitrates, while the production team outputs a generic format by default. An exception is if the TVC is only played at internal meetings, in which case platform specs do not need to be considered. The delivery consequence is that after acceptance passes, both parties sign an acceptance form to confirm project completion, and subsequent modifications will incur additional fees.
Applicable boundaries for the division of labor between live-action and CGI in TVC commercials
The division of labor between live-action and CGI is not applicable to all projects. Heavy use of CGI is not recommended in the following cases: limited budget and tight schedule, as CGI production costs are high and rendering times are uncontrollable; the product appearance is not yet finalized, as CGI modeling requires frequent revisions, leading to cost overruns; the brand requires real scenes or real actor performances, as CGI struggles to simulate genuine emotion; the team lacks CGI experience and cannot guarantee compositing quality.
The following cases are suitable for a CGI-centric approach: the product is in the concept stage with no physical prototype; there is a need to show the internal structure or microscopic details of the product; there is a need to create surreal environments or physical effects; there is a need to rapidly iterate multiple versions, such as color or packaging changes. The judging criteria are: if the project's core demand is realism, prioritize live-action; if the core demand is visual impact, prioritize CGI.
The risk is that brands may rely too heavily on CGI, causing the final video to lack genuine warmth. For example, using CGI to create food in a food TVC can be spotted as inauthentic by viewers, which actually reduces appetite. An exception is that for certain categories like tech products, CGI can enhance the sense of technology and is highly accepted by viewers. The delivery consequence is that before project kickoff, the production team must provide a suitability analysis for live-action and CGI to help the brand make decisions.
Next steps and recommendations
When preparing a TVC commercial project, it is recommended to first complete the creative brief and shot division sheet before seeking a production team. If the internal team lacks experience, you can consult a professional production company, but do not directly ask for a quote; instead, discuss the division of labor plan first. ONCE provides corporate promotional videos, brand promotional videos, TVC commercials, product videos, overseas marketing videos, social media short videos, and AIGC video production services. Commercial video projects require clarifying the communication goals, audience, core selling points, reference visuals, shooting conditions, delivery platforms, and copyright scope during the pre-production phase. Scripts, storyboards, shooting execution, editing, color grading, sound, subtitles, master files, and source files belong to different acceptance stages and should be recorded separately. It is recommended to complete a detailed requirements document together with the production team before project kickoff to ensure every stage has a clear person in charge.
If you are preparing a TVC commercial project, you can first organize the brief, reference visuals, product or corporate materials, delivery platforms, and copyright scope, then view theTVC commercial service pageto ground communication from abstract preferences to executable production boundaries.
