Frequently Asked Questions About Our 3D Rendering Services

Every engagement starts with a discovery call with Eddie Kingsnorth, our Co-Founder. The call is where we understand the project, the buyer, the launch calendar, and whether we are the right studio for the work. You can book it on the contact page.

Everything is produced in-house by our own team. We do not subcontract or outsource any part of production. Senior staff are personally engaged on every project, so the people creating your images are the same people you work with directly, and the quality stays consistent across the whole set.

Three things separate a studio that pre-sells homes from one that produces placeholder images. A real process, analysis and moodboard alignment before modeling, white-model approval before lighting, so the result is not a guess. Production that holds up against what luxury buyers already look at in design publications and on Instagram. And senior people who advise rather than order-take, because the right hero shot is often not the obvious one. Studios that compete on price and image count rather than on outcome tend to deliver the placeholder.

Yes. You are assigned a dedicated project manager who keeps everything in one thread, and senior staff are engaged on every project. For clients we work with regularly, we keep the same team in place so the people who know your standards carry forward from one project to the next. Communication runs on US hours.

The studio is led by Lukas Berezowiec, Eddie Kingsnorth, Shane O'Leary, and Rodolpho Reis, and senior people stay close to every project. A dedicated project manager owns the day-to-day. Reviews and comments run through a single consolidated channel per round, which keeps feedback from scattering across email and calls.

Yes. We work across luxury single-family, branded residential and hospitality, multi-unit, and existing-property repositioning, and across approvals, capital, and marketing use. We can share relevant examples on the discovery call, matched to your sector and what you are trying to accomplish.

Yes. We can share relevant work matched to your project type, whether that is a luxury single-family home, a branded multi-unit development, a resort, or an urban-context animation. Naming the closest comparison on the discovery call helps us point you to the most useful examples.

We invest the most in clients we work with repeatedly. For a firm with a steady pipeline, that shows up as a consistent team and point of contact, a workflow that adapts to how you operate, priority scheduling, and added flexibility such as extra revision rounds or expanded scope. Our model is built around long-term partnerships rather than one-off transactions, so the working relationship is designed to get stronger with each project.

Yes. The number we can run in parallel is something we plan together, since it depends on capacity, so growing the volume of work is usually something that ramps up over time rather than all at once.

Yes, and for firms exploring a longer-term partnership we often recommend exactly that. A first project is the most reliable way to see how we work, how communication runs, and how the output lands before deciding how to scale. It is a low-pressure way to begin the relationship rather than a trial offer or a free sample.

We're based in San Francisco and work US hours, with an in-house production team in Brazil. Calls, reviews, and turnaround run on your schedule, so clients across the US and beyond work with us as if we were down the street.

After. We do not write proposals without the call, because the call is how we understand the scope, the buyer, and the deadline well enough to propose something real. A proposal written before that conversation is a guess, and it usually quotes the wrong thing.

Usually within one to two working days. Once we have your files and a clear picture of the scope from the call, the proposal follows quickly.

Every project runs the same stages in the same order: analysis, design alignment, moodboard, white-model preview, photoreal rendering, revisions, delivery. Analysis and the moodboard set the visual direction before any modeling begins. The white model is where you approve camera angles while changes still cost almost nothing. Color, material, and lighting come last, once the structure is locked. The full sequence is on our process page.

Because that is the cheapest point to change anything. A white model is the clean, untextured geometry of each camera angle: framing, camera height, lens, composition. Adjusting the angle of a great room shot or the height of a drone view costs almost nothing here. The same change after materials and lighting are applied costs a full round of revisions.

Yes. The white-model preview is the first, every angle as clean geometry before any color is applied. Photoreal drafts follow at the revision stage, where you review lighting, materials, and atmosphere. You are never seeing the final for the first time at delivery.

Revision rounds are included with every project, and the exact number is confirmed in the proposal. Correcting something we got wrong against the brief is not a revision; we fix that as a matter of course. A revision is a refinement you request, such as a lighting adjustment, a mood change, or a material swap. A redesign, meaning a change to the layout or scope rather than to the rendering, is quoted separately, and we tell you which one a request is before the work starts, never after.

Adjusting lighting, time of day, or overall mood is treated as a normal revision, not a redesign, as long as the underlying design and camera angles stay the same. The revision rounds included with your project cover this kind of refinement. A redesign, meaning a change to the layout, architecture, or what the image is showing, is scoped separately. We always tell you clearly which one a request is before doing the work.

Yes to both. Mid-project design changes are handled as added scope when they go beyond the agreed brief, and we confirm the implication with you before proceeding. Re-renders after delivery are possible too, scoped against what the change requires. We keep the model, so returning to it later is straightforward.

Yes. Adding a view is added scope, and the cost depends on whether it is a new angle of something already modeled or a new space entirely. The best moment to settle the view list is the white-model stage, where angles are confirmed before production. Changes are always possible after that; they cost more the later they come.

All comments run through a single channel, one consolidated round per stage, rather than scattered notes across email and calls. On a project with an operator, capital partners, an agency, and an architect, feedback that arrives separately collides and contradicts, and the renders get pulled in directions no one actually asked for. One funnel, one round, internal disagreements resolved before they reach us. It is the difference between a project that wraps on schedule and one that bleeds rounds.

The best way is through reference images. You are not designing something brand new, so chances are someone has already created something close to what you have in mind, and pointing us to it tells us more than a description would. We can also test directions quickly with AI, which is well suited to that kind of early exploration.

We advise. When something in the design or the shot will not serve the goal, we say so, diplomatically but clearly. The decision stays yours, but you are working with a studio that brings a view, not one that silently executes an instinct it can see is wrong.

Yes, and it is part of the work rather than an add-on. Two strong renderings usually outperform four average ones, and the hero shot for a given project is often not the obvious one. We bring a view on this from the first call and refine it through the moodboard and white-model stages.

Yes, and on multi-stakeholder projects we expect to. We act as the coordinating hub rather than a downstream vendor, and we push for a single comments channel so the architect, the agency, the operator, and the developer stay aligned rather than sending conflicting notes. That coordination is part of how the work stays on schedule.

Exterior and interior renderings, architectural animation, VR and 360 tours, and 3D floor plans and dollhouse views. Each is delivered through the same process and built from the same model, so a project can extend from stills into animation, tours, and floor plans without starting over.

Standard is accurate, clear, and faithful to the design: library furniture where it serves, fair lighting, honest materials, the kind of imagery seen on a developer's listing or sales brochure. Premium is editorial: custom-modeled furniture, lighting used as a storytelling tool, atmosphere and lifestyle, the kind of imagery seen in a design publication or on a luxury developer's Instagram. Hybrid combines them, Premium for the hero shots, Standard for the supporting set. We talk through which fits on the discovery call.

Yes. We produce walkthroughs, flythroughs, and full marketing films, and music, pacing, and voiceover are part of the production on a finished film. The animation draws from the rendering set's model and visual language, which is why scoping it alongside the stills is more efficient than commissioning it separately later.

An animation starts with a call to understand the idea, followed by a black-and-white storyboard version that shows the camera path and what each moment is doing, before any color or lighting is applied. You review and adjust at that stage, while changes are still inexpensive, and only then do we produce the full-color animation. It mirrors how we handle stills, where you approve the structure before the expensive work begins.

Yes. Still renderings are the foundation of any animation, so they are produced first and included. Building the stills first lets you lock the design, angles, and look while changes are still inexpensive, before that work is carried into motion, where revisions cost far more. It also means you have a set of high-quality images for marketing straight away, in parallel with the animation.

Yes. We can add graphic overlays, labels, and callouts to a video where they help tell the story.

Yes. We build navigable 3D and 360 tours from the same model as the rendering set, and they run on standard devices including phones. For hosting, we strongly advise running them on your own server. Interface and navigation are confirmed before final production.

Yes. Within an interactive tour we can build in finish and material options so a buyer can move between flooring, cabinet, and countertop selections and see the space respond. The straightforward version is a set of pre-rendered variations of each space, and a fully real-time configurator is a more advanced option we scope per project. Either way, the tour is built on accurate 3D of your actual design, not a generic template.

Yes. 3D floor plans, dollhouse views, and section views, all built from the project model. They read faster than 2D plans and suit brochures, listings, and investor documents.

Yes. Aerial views and stylized site plans place a development in its setting and communicate scale and context, which matters for larger projects, capital materials, and approvals. They can combine modeling with drone footage of the actual site.

We render existing and empty spaces in full 3D, modeling and lighting the space properly. We do not offer virtual staging, the cheaper service of dropping furniture onto a photo. When a space needs to be shown furnished, renovated, or repositioned, we build the real thing in 3D. For overlays on an existing property, the camera angle and surroundings have to match the real photography precisely, and a white-model preview confirms that before final.

Yes. A project-specific landing page can hold the full visual set, renderings, animation, tours, floor plans, in one place for a launch. Where there is a fixed launch date, the landing page can be planned early so the imagery slots straight in on delivery.

Both. Standard work uses library assets matched to the design where they serve it. Premium uses custom-modeled furniture across the set, no library shortcuts. Any piece can be custom-built to spec when a specific look is required, for which we need the exact name, model, and manufacturer, or links and brochures, so the model matches the real piece rather than approximating it. The level is decided at the moodboard stage.

Yes. We match materials and finishes from physical references, photos, spec sheets, or supplier links. The closer the reference, the more exact the match. Confirming materials early, at the moodboard stage, is how we avoid corrections later.

Yes. We maintain a library of tens of thousands of models and materials, so most specified products are already available, and where a finish needs adjusting, such as a particular metal panel or an exact color, we tune it to match. We also build custom pieces: if you give us the model and manufacturer, we can create that exact item in 3D.

Yes. Lighting and time of day are creative decisions, not defaults. Twilight, dusk, blue hour, full daylight, dramatic interior light, each sends a different signal. We align on it through the moodboard, before any rendering begins, so the lighting and the angles are agreed up front rather than discovered late.

Yes. Many projects use a daytime image to communicate the design clearly and a twilight or golden-hour version to create atmosphere and drama for the hero moment. We discuss which shots warrant both during art direction, since lighting is one of the strongest tools for making a space feel desirable.

Yes. For destinations where the season is part of the appeal, such as a ski resort or a waterfront property, we can render the same building across seasons so buyers see it the way they will experience it year-round. These are usually phased, leading with the season that matters most for the current launch.

Yes. People, cars, and props are added or removed to suit the use, and we can deliver both populated and empty versions of a shot. Lifestyle elements suit marketing; clean, unpopulated versions often suit approvals and documentation. We confirm which the project needs.

Yes. Region-appropriate landscaping, vegetation, and background context are part of getting an image to read as real. Our process begins with an analysis of the site and its setting, so the surroundings reflect what a buyer would actually see rather than a generic backdrop.

Yes. When a specific view is central to the project, such as a great room opening onto an ocean or valley, we blend real photographic plates into the rendering so the view matches what a buyer would actually see. We provide a shot list and guideline so your drone operator or photographer captures the exact angle we need, and on projects that warrant it we coordinate the capture directly. In many cases a clean phone photo of the view is enough to work from.

Yes. Removing clutter, cars, or vegetation and cleaning up a site image is standard. What matters is that the camera angle and the conditions match what the rendering needs, and we confirm that before relying on a given photo.

Yes. Where a drone is not available, we can build the exterior and its context from plans, ground photography, and mapping data. Whether it matches the real setting precisely depends on the reference we have to work from, which is why we assess the available material before committing to an approach.

Framing, lens, and camera position are chosen to show a space honestly and at its best, and the white-model stage is where those decisions are locked. To make a room read more spacious we use wide-angle lenses and considered composition, within the bounds of an accurate representation. We do not distort a space into something it is not, that misleads the buyer and creates problems later.

As accurate as the design and the brief require. For planning, ARB, and hearing submissions, the imagery is built to represent massing, materials, context, and design intent faithfully, so the authority sees what will actually be built. This is documentary work, fair lighting, honest finishes, full visibility, rather than editorial dramatization.

Yes, within honest limits. We choose angles, framing, and composition that lead with a property's strengths rather than its drawbacks, and we keep less flattering surroundings from dominating the image. What we will not do is misrepresent the property or hide something a buyer would reasonably expect to see, since a render that oversells creates problems once people visit. The goal is the property at its best, accurately.

Yes, and it is part of our process. We study your brand, the projects you have done, and how you present them, and where you have an established visual language we work to match it. Keeping the imagery congruent with your brand is a normal part of how we work.

Yes. Showing buyers what a parcel could become is a common use, particularly for entitled or shovel-ready land. When a project arrives without a complete design, we can define and price design scope separately so the imagery is buildable and credible rather than speculative.

Yes. A common and efficient approach is to render a space once and then produce variations that change the finishes, cabinetry, flooring, or color palette, so buyers or stakeholders can compare options side by side rather than commissioning a separate rendering for each scheme.

To work on renderings from another studio, we would need the source files. Without them we cannot improve an existing image; we have to recreate it from scratch. If the source files are available we can usually work faster, though even then starting fresh is not ideal. In practice we rebuild to our own standard rather than retouching someone else's output, and our white-model stage catches the issues that usually carried over from the previous attempt.

Yes, and it is one of the most valuable things we do. On multi-stakeholder projects the architecture, interior, and landscape packages arrive from different teams and do not always agree. We review them together, identify and resolve discrepancies with you before production, and combine them into a single coherent image that represents everyone's intent. It also makes your internal coordination easier, since one consolidated visual replaces several disconnected ones.

Yes. A significant part of our work supports financing and capital conversations: showing investors and lenders what their money is building, to the polish those audiences expect. Clear, accurate visuals help maintain confidence between site visits and through funding drawdowns, when a project is otherwise hard to picture from drawings alone. We tailor the imagery to what that audience needs to understand and approve.

Usually it is the lighting and the furniture. Flat or uniform lighting and generic library furniture are the tells that mark an image as a placeholder. Convincing imagery comes from lighting used deliberately, materials handled with care, and modeling built to the standard the audience already expects, which is the difference between a rendering a buyer trusts and one they dismiss.

Design files, in whatever form they exist: CAD, Revit, a SketchUp or other 3D model, anything that shows the design. Beyond that, send the full design package you have rather than risk leaving something out, references, finishes, landscape, interior, and site information all help. The discovery call establishes what the project needs to do; the file review confirms what is there and what is missing before production starts.

We work from Revit, SketchUp, Rhino, AutoCAD, and most common 3D and CAD formats. A clean model speeds things up, but it is not a requirement to begin. We assess whatever you have at the file-review stage.

A CAD or Revit model is ideal, and we can also build from 2D plans, elevations, and drawings when no 3D model exists. PDFs are useful at the start for understanding the project, but they are not ideal once we begin modeling, so CAD files or an existing 3D model are far better to send. We build the 3D ourselves from your documentation, which is why our process begins with a file review to confirm what exists and what needs to be created.

Most standard architecture and 3D formats, including Revit, SketchUp, Rhino, and AutoCAD. If you are unsure whether your files will work, send them and we will check at the review stage.

A PDF shows the design but does not carry the geometry, dimensions, or spatial information a 3D model is built from. We can work from PDFs, sketches, and plans when that is what exists, but they take more interpretation and modeling than a coordinated 3D file, which is why we review what you have before quoting rather than quoting blind.

Yes, often. We review the model first to confirm it is usable and built to a standard we can render from. Sometimes it saves work, sometimes a rebuild is the cleaner path, and we will tell you which honestly rather than inherit a problem.

Yes, when the models are usable. We always check the quality of existing 3D assets first. Clean models can save time, but messy ones often cost more to fix than to rebuild, in which case we build from scratch.

Then design becomes part of the scope. When a project arrives without a finished design, we define and price the design work separately and run it ahead of visualization. It extends the timeline and changes the cost, and we surface both in the proposal rather than mid-project. The full detail is on our design services page.

FFE is furniture, fixtures, and equipment, the furnishings that dress a space. For Standard work we can use library assets matched to the design; for Premium, furniture is custom-modeled to spec. To model a specific piece accurately we need exact information, the item name, model, and manufacturer, or links and brochures for it, so we can build it correctly rather than approximate. Where no direction exists, we propose options in the agreed style.

Yes. Files arrive in every state, from complete models to a few plans and a moodboard. We work from partial information, model what is missing, or flag what we need before starting. Detailed references produce the closest result, but incomplete inputs are normal and we are built to handle them.

High enough resolution to read clearly, taken from angles close to what the rendering will use, and showing the actual conditions and surroundings. For overlay work on an existing property, accuracy matters more, the camera position has to match. We provide a specific shot guideline when the photography has to line up precisely.

It depends on the size and readiness of the project. A smaller, well-prepared project such as a single-family home typically runs around two to three weeks for the renderings, larger projects four to five, and multi-unit buildings around six, for the imagery alone. We build the milestone schedule on the assumption that feedback comes back within two working days at each review point, and the timeline moves with that. We confirm the schedule on the discovery call once we understand the scope and your deadline.

Often, yes. Expediting usually carries an additional fee, and it always has to be confirmed with the team first, because it depends on our capacity at the time and on people committing to late hours or weekend work to hit the date. We would rather confirm honestly than promise a deadline we cannot hold.

Yes. The schedule maps the production stages, white-model preview, photoreal drafts, revision rounds, delivery, and marks the points where your input is needed. We build it on a default of two working days for your feedback at each review point, and we set those windows at kickoff so everyone knows what keeps the project on track. The schedule is yours to share, so an agency or architect can forward it straight to their own client and everyone is working from the same dates.

Two working days at each review point is the default we plan around, consolidated through one channel. Feedback speed is the single biggest variable in the timeline: faster keeps things moving, slower moves the dates. If a project is small enough to need less, we set that at kickoff instead.

We do run multiple projects for the same client in parallel, and recurring clients are scheduled with that in mind. Whether we can start a given project right now depends on our capacity at the time, which we confirm on the discovery call rather than assume in advance.

AI is good at producing something that looks impressive quickly, but it cannot reliably produce an image that is accurate to your actual design, measurements, materials, and site, and for selling or approving a project that accuracy is the whole point. There are places where AI genuinely helps, and we use it there: for conceptual renderings where the goal is brainstorming ideas rather than precise detail, and increasingly in animation, where parts can now be generated from images, which makes animations faster and more cost-effective than before. What stays human-led is the accurate, design-faithful work a buyer or stakeholder has to trust. We use the tool where it helps and rely on our team where it counts.

An AI image can produce a mood quickly, but it is not buildable, not dimensionally accurate, and cannot be revised reliably or extended into animation, tours, or floor plans. Professional 3D visualization is built from a real model of the actual project, which means it is accurate, consistent across a set, usable for approvals and sales, and the foundation for everything downstream. We can use an AI or concept image as a reference for direction, but not as a substitute for the model.

Often, as a starting point. A concept or AI image can communicate intent and mood, but it is not buildable or dimensionally accurate, so we treat it as reference, not as a model. We translate the direction into an accurate, coordinated render and flag where the concept is not feasible as drawn.

No. We build real 3D from your actual model or plans rather than overlaying furniture onto a photograph. The result reads correctly from any angle and stays accurate to the space, which photo-overlay staging cannot guarantee. When a project needs furnishing and styling, we model and light it properly within the scene.

By default we deliver at 4K resolution, suitable for web, social, and print. Where a project needs something larger, large-format print for hoardings or display boards, we can discuss a higher resolution. We confirm the target formats at the start so each image is produced for where it will appear.

Final files are delivered in the agreed formats, organized and clearly labeled by view and space so they are easy to use across your materials. Master files are provided where requested.

Layered or editable files such as PSDs can be provided when you need them for your own adjustments or for an agency. We confirm what is included as part of the scope, since it affects how the files are prepared.

Source and clip files can be provided when your agency needs them for editing or campaign work. We confirm the formats and what is included as part of the scope.

Yes. From a single master animation we can produce shorter edits and vertical formats suited to social platforms, and adjust pacing, text, or order for different audiences. Producing these from one master is more efficient than commissioning separate videos.

Every project is quoted to its scope, so there is no single number. The quote is driven by the number of images, the production level, whether spaces are interior or exterior, how much custom modeling is involved, and whether design or animation is part of the work. We quote after the discovery call, once we understand what the project actually needs, including an honest read on what level it does and does not require, so you are not paying for work that will not move the result.

It is quoted per project, not from a fixed rate, because the cost is driven by the number of images, the production level, the modeling involved, and whether design or animation is part of the work. A handful of editorial hero images for a luxury spec home is a different engagement from a full multi-phase set for a branded development. The honest answer to the price question comes after a short discovery call, which is also where we tell you what level the project actually needs.

Because what you are paying for is the process, not just the images. Our process is deliberately manual and analytical: we study the project carefully before a single rendering is made, and that human work is the expensive part. Producing an image is something AI can do, but producing it properly, accurate to the design, takes the full process, which is time-consuming and costs money. Compared with a freelancer, the real difference is reliability. A freelancer may follow a process too, but it is one person, so consistent quality, availability, and deadlines cannot be guaranteed. If they are unavailable for a week, the project stalls. As a studio with a team, we can hold the same quality every time and meet the deadlines we commit to, because if one person is out, another steps in. That reliability is part of what the price reflects.

Yes. A quote and a complete set of files are two different things. What we need in order to price a project is a clear understanding of it, and a thorough discovery call usually gives us that: what you are building, who the buyer is, how many images and of what kind, the level the imagery has to reach, and the deadline. With that, we can quote with confidence even when the files are still incomplete or the design is still settling. The file review later confirms the detail, and if anything material changes the scope, we tell you before the work begins, never after.

No. Pricing is set per project against its scope, not from a fixed sheet. Two projects with the same image count can sit at very different prices depending on production level, modeling complexity, and what the imagery has to accomplish. You get a clear proposal after the discovery call, with reasoning attached to each option.

Pricing is built from the project's scope: image count, production level, interior versus exterior, modeling complexity, and whether design or animation is involved. A quote can differ from a past project even at the same image count, because the level the imagery has to reach, and the work behind it, is rarely identical from one project to the next. The proposal lays out the reasoning behind each option so the basis is clear.

Because the cost is in the work, not the apparent simplicity of the result. A clean, restrained image can take as much modeling, lighting, and refinement as a busy one, sometimes more, since there is nowhere for a flaw to hide. What drives the price is the effort an image requires to reach the standard, not how complicated it looks.

An additional view is added scope, and it is more efficient to produce than the first, because the model is already built. The cost depends on whether it is a new angle of an existing space or a new space that has to be modeled. We confirm the figure before adding it, never after.

A color or material variant on an existing scene is a light change, since the model and lighting are already in place. A model change, moving a wall, altering geometry, redesigning a space, is heavier, because it touches the build itself and the lighting that depends on it. We tell you which category a request falls into before any work begins.

A close-up of a space already modeled and lit is a modest addition. A detail shot that needs new modeling, a custom fixture, a material studied at close range, an element that did not need resolving at wider framing, carries more, because the closer the camera, the more the scene has to hold up. We scope it against what the shot actually needs.

It can reduce the modeling effort if the model is clean, complete, and built to a usable standard. Often a supplied model still needs review, repair, or partial rebuilding before it is render-ready, and we assess that at the file-review stage. We will tell you honestly whether your model saves work or whether starting fresh is the better path.

A larger set is more efficient to produce, because the model is built once and additional views draw from it, and that efficiency is reflected in how the project is scoped. Beyond a single project, the studio is built around recurring relationships rather than one-off jobs: the value of an ongoing engagement shows up in the senior attention, the scope, and the way the workflow tightens across projects.

Yes. Pre-launch and confidential projects are common, and we handle them securely. We are glad to sign an NDA before files change hands.

You receive full usage rights to the final deliverables once the project is fully paid, free to use across marketing, sales, listings, and presentations. The terms are set out in the agreement so the handover point is clear.

Where appropriate, yes. With a client's permission we can put you in touch with someone we have worked with, alongside relevant case studies. Many of our strongest relationships began as referrals, so we understand the value of hearing directly from someone who has been through the process.

Most projects begin with a deposit, with the balance tied to delivery or to milestones on larger engagements. We accept bank transfer and card; card payments may carry a processing fee. We do not accept checks. The exact structure is confirmed in the proposal.

Yes. Larger projects suit phased delivery, hero images for the launch, the full set for the sales push, interiors later, and billing can be tied to those milestones. We structure the phases around your calendar in the proposal.

Billing reflects the work completed to the point of pause or cancellation. Because projects run in defined stages, there is a clear line at any moment between what has been produced and what has not. The specifics are set out in the proposal so there is no ambiguity if plans change.

NoTriangle Studio is a company registered in Ireland, so we do not issue a US W-9. If that raises a question for your accounts team, the answer is simple: as a foreign entity we provide a W-8BEN instead, which is the document a US client needs from a non-US company in place of a W-9. It gives your team everything required to set us up as a vendor and to handle the paperwork correctly. Just ask and we will send it before the first invoice, so onboarding never holds up the start of the work.

Yes. Invoices can be directed to a specified entity or end client, which is common when an agency or architect engages us on a developer's behalf. We work primarily in USD, with other currency arrangements confirmed per project.