I can safely say I have been waiting years for a job like this to appear in the radar, needless to say when we were awarded the job, we were literally over the moon.
This may have been one of the most difficult jobs I have done due to the nature of the deconstruction process and how complex it is to make a system directable.
A brilliant little project I really did enjoy from start to finish, specially because it was 3D free and it was all about ingenuity and craft rather than trying to do 3D where we didn’t need to.
I had the opportunity to work on this new installation of Heineken for the renowned director Matthijs van Heijningen with none other than Daniel Craig, pretty crazy stuff.
A wonderful adventure in the world of Muller, now let's throw everything we have at it and make it bigger, better and as crazy as we can. Now how to do this??
When I was given the opportunity to direct another animation job I was so excited, specially Sunlight that was a very nice realistic looking job with live action.
A great opportunity to put my latest research in true motion, not only little tests, but truly a new approach to our lighting pipeline that permitted us to produce such a huge job in record time without suffering too much.
My directorial debut was a wonderful experience where I feel a part of me lives. From the script, editing and planning to the production journey, I have memories I will cherish forever.
This is one of those jobs that pushes our technical tricks to the limit, from the shoot itself that required lots of time and effort to the actual paper carving and of course, paper landing in a natural way but directable and for this we used every single tool under the sky.
A huge challenge with 13 commercials done, fur, hair, clothes, body skin simulation, facial animation and whatnot, all done during a period of 6 months and a big team of 16 people for Orangina.
A majestic mega-project where all sorts of techniques were used to create the world, from floods to clouds, from forests to seas, from fish to grass, everything had quite a lot of postproduction.
A great experience on creative design for a great brand where we were trying to develop a different style of visuals, more dramatic, more intense, very like a comic book.
A wonderful experience as a shoot supervisor for a character animation job shot in South Africa Johannesburg city in which weather conditions proved very complicated plus a very complex shoot on the middle of a tough city.
Director: Michael Geoghegan
Agency: BBH
Production: Spank
Client: LG
An amazing challenge where technology was put in place, which really helped, a tremendous shoot with brilliant moments. Not only do we need to understand the moments where we were shooting, given that the liquid nitrogen used only worked under certain
A fun project done in the Los Angeles office for JCPenney, where choreography was the name of the game, maintaining the crowd still yet alive and being able to pass people from hand to hand. Very interesting technical exercise for a beautiful and playful commercial.
How hard it was to choreograph 22 players not knowing where the camera would be was the biggest challenge, for this we had to resort to motion builder gurus to help us put it all together as the director wanted.
A wonderful idea for one of the best brands in the world, executed in a fabulous way with some little help from post-production effects, not much though.
