Tuesday, July 31, 2012

Fly Buys: Something a Little Bit Good. Moving Picture Company. July 2012.


Fly Buys VFX was done by MPC and directed by Psyop.  I worked on one shot, developing a particle system that would use butterflies opening and closing their wings to create a pattern on the tree. This was all driven by a texture so we could easily make updates to the animation.

Moving Picture Company. Fly Buys

Thursday, May 31, 2012

Nike: Game On World. Moving Picture Company. May 2012.



Adam Berg directed these 2 Nike Commercials that were made to resemble a video game. Lebron James and Ving Rhames play the villains that our hero must overcome. This was completed in just under 2 weeks of post.
I was responsible for developing the shattering effect using a combination proprietary tools.

Moving Picture Company. Nike: Game On World 

Monday, April 30, 2012

Quaker State. Moving Picture Company. April 2012.

This project sent us to Mexico City for this Quaker State commercial for the Mexican market, directed by Bram Van Riet of Caviar.
We were presented a challenge of developing a car made of sand that would drive through the city streets. A lot of the original setup was automated, but every shot required its own special touch.
I was responsible for on set supervision, leading the cg team, and involved in the development process of the sand.

Tuesday, March 20, 2012

Mercedes: Patents. Moving Picture Company. February 2012

This was one of two Mercedes commercials we worked on to be aired during the Oscars. We had 9 days to complete this and another :60, and used a combination of particle systems and hand animated papers to art direct each page into place.

Thursday, February 2, 2012

GRAMMYs: Bon Iver and Adele. Moving Picture Company. January 2012.

Bon Iver: Holocene

Adele: Rolling in the Deep
These two promos for the 2012 GRAMMY awards was the inaugural job for MPC Creative in Santa Monica, Directed by Dan Marsh and Ryan Knowles.

The first project was for Adele's Rolling in the Deep. This project was especially tricky since we had to develop a particle, and a fluid system that not only responded to sound, but used that sound to power its movement. First the vocals were split from different instruments in Maya. Then, working closely with the in-house directors, the look was developed, scripts were written, and we automated a lot of the setup.

Using what we learned from Adele, we moved onto Bon Iver's Holocene. This time, a miniature was built and we did a shoot. Again, we had to develop systems of particles that were powered by the sound. A big challenge this time around, was creating a system to form Justin Vernon singing and playing the guitar.