GLOBAL SPORTS BRAND

Nike Air 720 — Hovercraft

Disciplines

CGI / 3D / SET BUILD / PRODUCT

A faceted hovercraft object developed in 3D and then physically built — the digital model and the real thing had to be the same object.

Nike — Air 720 — Hovercraft
The challenge

Translate the visual language of an air-cushioned sole into a physical object that could be photographed, filmed and shipped — without it reading as a prop.

The idea

A hovercraft. Not as illustration, but as a genuinely constructed object: faceted, engineered, sitting on a visible cushion of air. The product idea made literal, at full scale.

The production approach

Built in 3D first, because the facets had to be resolvable in the real world — panel sizes, joins, material behaviour, weight. The CGI was not a visualisation of the build; it was the build.

If we produced it today

Generative exploration would compress the front end of this project — dozens of silhouette and material directions before anything is modelled. But the moment a thing has to be manufactured, generated imagery stops being useful and CAD-accurate 3D takes over. Knowing exactly where that line sits is the job.

Craft + post

Look development and material studies in 3D, then fabrication drawings, on-set supervision and postproduction that reconciled the rendered and the photographed versions into one consistent set of assets.

MotionNike
Fabrication
FabricationNike
Panel study
Panel studyNike
Build, in progress
Build, in progressNike
Final object
Final objectNike
Production

BUILD → FINAL

Drag to compare. The gap between the two is where the work actually happens.

BUILD FINAL
BUILD FINAL
Production impact

What the approach changed.

Model to object

One geometry served concept, fabrication and final imagery.

Fewer surprises

Material and scale problems resolved in 3D, not on the build floor.

Reusable asset

The digital object continued to produce imagery after the build wrapped.

Next case

Paulson 3-Phase Protective System

Next step

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