Here’s the latest piece I’ve directed, the official reveal trailer for the upcoming 2K/Gearbox game, called “Battleborn”. Very unique look and animation, it was a lot of fun to create. Kudos to my great team at Digital Domain, who, as usual, did an awesome job. Special mention to Michel Gagne, for all his hand-animated effects, and Janimation for the work on the end sequence as well! Music by M83.
Official 2014 E3 trailer for the upcoming Halo release, called “The Master Chief Collection”. I had the pleasure of being the Visual Effects Supervisor for an immensely talented team at Digital Domain. Honored to finally have a Halo spot under my belt! Very challenging piece to create over a period of ten weeks, it was directed by Reset’s Johnny Hardstaff. The agency was 215 out of San Francisco, and the client was Microsoft’s 343 Studios.
This is a trailer I directed for the upcoming “Evolve” game by 2K and Turtle Rock Studios. All performances were motion-captured on Digital Domain’s stages and it is entirely rendered in real time using CryENGINE. It was a blast to create. Agency was Team One and music is by Lissie doing a cover of Danzig’s “Mother”.
Launch video for Nike’s LeBron 11 shoes. Directed by yours truly with camera by Patrik Giardino, and an incredibly talented team of visual effects artists at Digital Domain. Music and sound design by Massive Music.
100% CGI, this spot is for the latest campaign for Cisco via agency OgilvyWest. I was the Creative Director of a team at Digital Domain that worked non-stop through the holidays. I even got to do animation on a few shots… a rare event these days! Directed by fellow Mothership director David Rosenbaum.
[WINNER of a Hollywood Reporter's Silver Key Art Award 2013, and a 2014 VES Nominee for Outstanding Cinematography] This is the official 2013 E3 trailer for the upcoming WB’s Mad Max “Ethos” game. Produced in just over eight weeks of feverish work with a super talented team at Digital Domain. Agency was The Ant Farm, directed by my fellow Mothership director Neil Huxley. Here’s the official site madmaxgame.com/en/
This is a 100% CGI spec spot I designed and directed as a showcase of my work and the studio I used to work for, Radium/ReelFX. A labor of love, it started as a pitch (which you can see below) and it has appeared in numerous publications, including Motionographer, was chosen as “Best of 2010″ on Stash Magazine, and was a Top 10 finalist for the 2010 AICP show.
You can check the original treatment I created below. We adhered to the designs incredibly closely.
[WINNER of a 2013 Clio for Visual Effects, a VES Award for "Outstanding VFX on a Commercial" and "Best Visual Effects" AICP 2012] A piece we created for the launch of a new series of knitted shoes for Nike, expected to be on sale by the 2012 Olympics in London. An incredibly challenging piece from a technical standpoint I must say… Directed by David Rosenbaum, I was the Creative Director of a large team of super talented Digital Domain artists.
This is my take on the Chevy Volt launch spot I directed for Campbell-Ewald out of Detroit. We shot the talent on a green screen stage, and everything else with the exception of the charger handle, is 100% CG.
This was a pitch we did to try to get a massive Toyota job. 100% CG. We didn’t get the job (thankfully as it turns out), but we were able to develop some interesting techniques and got a nice piece for the reel.
One more on our EVO/Android adventures for agency Goodby in San Francisco. I was the Creative Director on the project, and got the chance to animate six of the shots (doesn’t happen often, so I enjoyed it!).
Extended version of Skyy’s first ever TV spot, through agency Lambesis. I was the Creative Director of a small team of freelance artists working at Digital Domain over a six week period. Big kudos to my CG Supervisor on the job, my buddy Mark Wurts! Directed by fellow Mothership director Sil van der Woerd.
Number three of a series of spots I directed for Brighthouse. Once again, shot in Argentina. Lots of CG, matte paintings, etc. As an interesting bit of trivia, the boy, unbeknown to us, was VERY afraid of dogs… so he freaked out at one moment where the puppy jumped at him. I had to talk to him for about 45 minutes to bring him back into set.
Official trailer for the latest installment of Call of Duty. I was the Creative Director of a team at Digital Domain that worked non-stop for three weeks. We were responsible for the entire opening sequence and the ending (all the “NYC” shots). Set extensions, weapons, aircraft, etc. A hoot to make, the agency was 72andsunny and it was directed by Peter Berg.
A motion ride video for the Air Force, to be used as a recruiting tool of sorts. Shot with multiple cameras (RED, Si2K, Alexa) over 5 days in Nevada, it was extremely difficult to create due to the need for first person POV at all times, as well as the requirement to minimize cuts and transitions (and don’t forget the multiple cameras). Huge amounts of CG, matte paintings and compositing resources were used over a period of many months… I was the Creative Director on the project at Digital Domain. Directed by Derin Seale.
A couple of tests we did at Radium to try to land the Geico account. The idea was to replicate shots from existing spots. We started from the ground up, and modeled, textured, rigged, animated, etc. I worked on the lighting and compositing for these two shots. I think we more than proved we were capable of taking on the Gecko, but alas, we did not get the work… At least we had a great time doing it!
The first of a series of spots I’m doing for Sprint just aired. It’s called Sprint “Firsts” :30 (aka “Domino”) and it was directed by fellow Mothership directors Dave Rosenbaum and Dael Oates. I was the Creative Director of a team of about 25 artists working feverishly for a month. A lot of CG combined with live action. Shot at the Bonneville Salt Flats in Utah. You can see the :60 version here.
My initial boards included the live action interacting with the CG as you see in this version. Client ultimately did not want people on in… I always liked the play on scale it brought to the spot though.
Number four of a series of spots I directed for Brighthouse Networks, out of Florida. Shot in Buenos Aires, Argentina. I had great fun directing the couple, which were an actual couple in real life. We shot the spot on a small theater in the city. The end shots were shot in the same house we used as a location for another of the spots, called “Your Move”.