Chobani Flip: “A Little Door” | “He Can Fly” | “Food Fight”


Chobani Flip: “A Little Door”

Chobani Flip: “He Can Fly”

Chobani Flip: “Food Fight”

COMMERCIAL CAMPAIGN
ROLE: Flame Artist / VFX Compositor
VENDOR: The Mill
AGENCY: Chobani
PRODUCTION CO: MJZ
DIRECTOR: Dante Ariola

These magical Chobani spots marked the beginning of a trio of unrelated food products I worked on, the former two being Taco Bell and KFC.

I truly enjoyed contributing to these visuals, each a stylized children’s fairy tale-ish fantasy, all centered around the concept of Flipland, an imaginary world inspired by Chobani’s gimmicky flip container for its yogurt. Minor amounts of CG augmented a mostly in-camera and 2D enhanced workload of visual effects.

Shot indoors, each required environment extensions, ranging from tricky forests that intersected warehouse rafters to wheat fields that needed to grow for miles to flowered landscapes with painterly mountains. I contributed to a handful of each, relying mostly on replicating plate photography with Flame camera tracks.

I also worked on fairy dust, magical door light, and blooming flowers for “A Little Door.” And I handled rig removal and the addition of more flying food for “Food Fight.”

Full Credits

Audi: “The Drones”


COMMERCIAL
ROLE: Senior Flame Artist / VFX Compositor
VENDOR: The Mill
AGENCY: Venables Bell & Partners
PRODUCTION CO: MJZ
DIRECTOR: Dante Ariola

This Audi spot draws clear inspiration from Hitchcock’s “The Birds” to demonstrate the handling and navigational features of the new A6 model, which of course, is being pursued by aggressive Amazon-looking delivery drones.

All of the drones in this spot were CG, requiring extensive integration and tracking. There was a bit of give and take with the building fa├žade and surrounding trees, to achieve the optimal layout for the drones in their resting state. This included raising the height of the building, replacing open areas with windows, and repositioning trees.

For the initial attack shots, the running crowd was duplicated and retimed to depict the maximum level of excitement and tension.

The drone pursuit of the Audi required road clean-up and car beauty, as well as drone impacts with power lines and a collision with the overpass. 2D smoke, debris, and sparks were added for dramatic impact.

I handled the wide attack shots, as the crowd escapes the building, as well as a couple of resting state shots. I also contributed to the Audi pursuit, and overpass impact.

Full Credits

Super Bowl 2015 | Kia: “The Perfect Getaway Vehicle”


SUPER BOWL COMMERCIAL
ROLE: Senior Flame Artist / VFX Compositor
VENDER: The Mill
AGENCY: David & Goliath
PRODUCTION CO: MJZ
DIRECTOR: Mathis Van Heijningen

Pierce Brosnan relives his 007 glory days in this clever twist of a snow-driven adventure. I handled all the indoor office window comps and Brosnan beauty work. I also worked on an owl blink, some car beauty, snow clean-up, and a nitpicky smoothing fix on his down coat towards the end of the spot. I probably did a few other odds and ends. But the distance of time has fogged the memory somewhat.

Full Credits