CGI Director Andy Glass Brings a Rebrand to Life Using CGI and In-Camera Photography
As a CGI director, Andy Glass has spent years refining his craft, ensuring a seamless integration of computer-generated elements into real-world, in-camera imagery. His latest project with the Greater Anglian Train Network exemplifies this skill, as he helped bring the company’s rebrand to life through a fusion of landscape and lifestyle photography with CGI. Working with London-based agency Atomic, Andy’s role was essential in visualizing the campaign’s hero element—a modern, geometric hare that serves as the company’s new logo.
East Anglia, known for its vast, flat landscapes, served as the backdrop for this project. The hare was chosen as the symbol for Greater Anglian due to its speed, elegance, abundance and directness—harmonious qualities to that of the train network’s mission to provide efficient and modern transportation. Andy and his team worked to create the visuals that showcased both the new train designs and the landscapes they traverse, all while incorporating the CGI hare in a way that felt natural and realistic. By blending the beauty of East Anglia’s landscapes with a futuristic, stylized hare, Andy has helped shape a fresh, modern identity for the train network, reinforcing its commitment to speed, efficiency, and innovation.
The hare is such a strong visual for this campaign. How did the idea for the CGI hare come together?
The idea was largely developed before I got involved, with the agency already envisioning a geometric, modern-looking hare as the face of the rebrand. My role was to work closely with a CGI specialist to refine the design and ensure it would be seamlessly integrated into the landscapes and train interiors we shot. It was important that the hare articulated properly, so we built an internal rig—essentially a digital skeleton—allowing it to move naturally while maintaining its sleek, faceted look.
The project involved both photography and CGI. What was your approach to balancing these elements?
The only CGI aspect of the images was the hare itself; everything else was shot in-camera. We captured stunning landscapes across East Anglia, including Holkham Beach and a pine forest, ensuring they provided enough space for the large-scale hare models. We also shot real train interiors to emphasize the modernized passenger experience. In the studio, we photographed people interacting with a physical stand-in for the hare—a red, padded pummel horse—while using wind machines to create dynamic movement. Lighting was very critical here and was carefully planned to match the angle of light in real-world environments, making the final composite as seamless as possible.
What technical considerations went into making the CGI hare look realistic?
Because the hare’s design featured mirrored, geometric facets, reflections were crucial. We shot HDRI captures of each location to ensure accurate lighting and reflections on the CGI surface. Additionally, we used a small reference cube in the field to help match the perspective and lighting in post-production. Getting these details right was essential to making the hare feel like a natural part of the environment.
You worked alongside a broadcast team. How did that impact the shoot?
This added an extra layer of coordination, as we had to time our shots carefully and sometimes hide in the dunes while they captured wide shots. It’s always a challenge working in tandem with another production, but it ultimately added to the depth and continuity of the campaign.
What do you think this project says about your role as a CGI director and photographer?
It was a great example of how my ability to bridge the gap between technical CGI work and real-world photography can bring a creative vision to life. There were many layers to this project—from landscape photography to technical studio work and CGI integration—each requiring a different skill set. Being able to work with all of these elements in tandem was the most rewarding part of the process.