Miller Lite: “Liquid”

Miller Lite: “Liquid: Storm”

Miller Lite: “Liquid: Snowflake”

COMMERCIAL
ROLE: Senior Flame Artist / VFX Compositor
VENDER: The Mill
AGENCY: TBWA\Chiat\Day
DIRECTOR: Ivan Bird

These Miller Lite “Liquid” spots are an experiment in physical beer manipulation. Shot in-camera in plexiglass cloud tanks, these tempestuous whirls of hops and ale are intended to mimic natural liquid forms, like watery rolls and curling waves. These two spots are part of a larger collection, each with its own theme and narration.

Workwise, it’s all fairly straightforward, but also in need of some 2D comp help. Much of the footage was shot on greenscreen, which keyed adequately enough. However, some of the grander shots, like the curling wave did require roto, making for a challenging experience all its own.

There’s also a fair bit of clean-up, removing residue and dust from the tanks, as well as imperfections in the beer itself. On that latter point, it’s safe to say that most of the clean-up was subjective, based primarily on taste (no pun intended). So sometimes, I wasn’t entirely sure if I was cleaning dust, unwanted bubbles, or some foam-froth-based thing.

There’s also some endcard product beauty. I handled that, as well as most of the beer clean-up and one of the curling wave shots, represented in the “Storm” spot.

H&R Block: “Get Your Billions Back America”

H&R Block: “Get Your Billions Back America: Air Drop”

H&R Block: “Get Your Billions Back America: Toe Drop”

COMMERCIAL
ROLE: Senior Flame Artist / VFX Compositor
VENDOR: The Mill
AGENCY: Fallon
DIRECTOR: Randy Krallman

I love idea of money pallets being dropped out of the back of cargo planes. It seems so outrageous. But that’s exactly what these H&R spots did, practically and in-camera.

Well … it wasn’t actual money. But they were actual lifesize props, complete with parachutes. And they were pushed out the back of an actual cargo plane, somewhere in the California desert.

The fact that the primary element in these spots was captured practically put a huge smile on my face. It always wins the believability-test, in my opinion. But of course, that didn’t mean there wasn’t plenty of work to dofor America to “Get Back It’s Billions.”

There was only plane, shot many times from many perspectives. So the aerial fleet had to be assembled from multiple takes. Also, the earthbound landscape needed to reflect homes, communities, and cities, and not a rural empty desert. No point of dumping money in the middle of nowhere. So matte paintings were tracked into these downward looking perspectives.

There was an occasional CG plane added to accommodate certain interior-looking-out views, as well as some CG parachutes, already expanded and descending. But all the pallets leaving the planes were real.

Interior shots required some work on the money pallets themselves, concerning the overall scale and amount of the money stack. Also, the lit-up “Billions” sign needed to be added.

I handled all the exterior fleet shots, including plane duplication, environment clean-up and matte painting additions. I also added a few CG planes and parachutes for a couple interior shots.

Verizon: “Mr. Amazing”


COMMERCIAL
ROLE: Senior Flame Artist / VFX Compositor
VENDOR: The Mission
AGENCY: McGarry Bowen
DIRECTOR: Samuel Bayer

One of the earlier stadium/crowd replacement projects I worked on, all done in Flame with 2D elements, crowd plates, and general all-around creative thinking. These days, this type of project is a fairly standard CG task, with Massive or Golaem doing the heavy lifting. Being in smaller shop, with a handful of experienced Flame artists, the spot was regulated as a 2D comp challenge.

I worked on a couple of wide running shots, as well as those approaching camera. Since the conceit was a dream sequence, the stadium reality was slightly heightened, with atmosphere and stylized lighting. A lot of hand tracking and multiplane layers, with matte painted bleachers and scoreboards, and clever glows and lighting effects to illuminate the field.

Samsung Curved TV: “Changes Everything”

COMMERCIAL
ROLE: Senior Flame Artist / VFX Compositor
VENDOR: The Mission
AGENCY: 72andSunny
DIRECTOR: Rian Johnson

“Last Jedi” and “Looper” director Rian Johnson crafts this clever homage to memorable motion picture moments for the debut of Samsung’s Curved TV.

I still enjoy watching this spot today. Each clip is perfectly curated to tell this somewhat magical narrative. It has that spirit of 80s blockbuster summer films, even though it pulls from old and new alike.

My one memory, while working on the many screen comps, clean-ups, and product beauty, was watching Samsung not even flinch, when George Clooney asked for a million dollars to use a clip from “Gravity,” which had a whopping 8 words (not lines) of dialogue.

Anyway, my other takeaway was that curved screens are a bitch to track and comp in 2D. I also assembled the CG endtag of the curved TV.

Samsung: “Amazing Things Happen: You Need to See This”

LONG-FORM COMMERCIAL
ROLE: Lead Flame Artist / VFX Compositor
VENDOR: The Mission
AGENCY: 72andSunny
DIRECTOR: James Mangold

I don’t recall a whole heck of a lot about this spot, except having 3-4 days to conform and finish it, so it could air in time for the Oscars. I also recall there being a snafu with the watch geometry supplied by Samsung, which created a few degrees of stress.

As per the norm for these Samsung spots, I handled screen comps, general shot clean-up, and the CG end card, which used to be twice as long and far more graceful in an earlier rendition. For some reason, it got cut down in the final. Also, there was endless discussion to the layout of all these devices and how much they should each be silhouetted.

Samsung Galaxy: “LeBron Dunk” | “Pencil”


Samsung Galaxy Note 3: “LeBron Dunk”

Samsung Galaxy Tab Pro 10.1: “Pencil”

COMMERCIAL
ROLE: Senior Flame Artist / VFX Compositor
VENDOR: The Mill
AGENCY: 72andSunny

I clearly recall these two spots being a total pain in the ass. Both were focused on Samsung’s Galaxy family of mobile devices, the former “LeBron Dunk” on the Note 3, and the latter “Pencil” on the Galaxy Tab Pro 10.1. And both were poking fun at their main competitor Apple, and their mobile equivalents.

That brings me to “LeBron Dunk.” This was challenging for two reasons. The footage couldn’t be digitally altered in any way, since this was a comparison between the two screen displays. That proved difficult, when addressing content revisions, because both screens had to be reshot side-by-side, on their respective devices, under the same lighting conditions, to uphold the validity of the comparison. And there were a lot of revisions.

I worked on all the wide side-by-sides, as well as the endcard, which featured the only CG element. I also contributed concept work to deciphering the look of the background environment, which admittedly doesn’t look like much. But it took a lot of back and forth to arrive at the given dark nebulous space that appears in the spot.

“Pencil” had similar background challenges. Again, this spot was shot all in-camera. But finding the correct lighting and depth cues to reveal each device had to be refined in post. And the right shade of darkness on the background surface helped determine that.

I contributed the opening reveal, the side-by-side screen comparison, which also had the same complexities as “LeBron Dunk,” and the endcard, which again featured the only CG element.

Samsung Galaxy Family: “Home Olympics”


COMMERCIAL
ROLE: Lead Flame Artist / VFX Compositor
VENDOR: The Mission
AGENCY: 72andSunny

If memory serves, this was one of the easier Samsung spots to work on. It was still a minute long. And the schedule was under a week. But the workload was fairly straightforward. In other words, this was primarily a conform and clean-up job, with a lot screen comps, and a fancy CG endcard. Plus, there was a team of 6 Flame Artists.

I did a handful of screen comps, removed some logos from a snowboard for the downhill rooftop sequence, changed the time of day for the bathtub bobsled ride, and spent the remainder of the schedule crafting the triple product endcard.

Squarespace: “A Better Web Awaits


SUPER BOWL COMMERCIAL
ROLE: Senior Flame Artist / VFX Compositor
VENDOR: The Mission
CLIENT: Squarespace
PRODUCTION CO: Anonymous Content
DIRECTOR: Malcolm Venville

It’s interesting to look back at this one. At the time, all the visualized memes and internet conceits were all current. Now, they look so dated. But the underlying concept still plays to surprising effect – albeit, just a few years out of date. I could totally see this being revamped for today’s online culture.

That said, I worked on a number of vignettes for this spot, most notably the memes for virus, stock photo, stock broker, funny words, and sexy singles. Much of what you see was shot in camera. But numerous alterations had to be made, including logo and signage replacement, environment extensions, floating UI graphics, and style-based treatments.