I directed visuals for a fashion show for an iconic brand in urban street culture. I led a team of motion graphics designers and collaborated with a choreographer to integrate visual effects with the movement of the models. We used holo-mesh technology to project graphics and particles in front of the models, creating a holographic illusion. This projection mapping technique combines projection and transparent material to give the illusion of floating graphics. The show was held in an East London nightclub and had a trippy vibe, with slow hip-hop beats.
I led the content production and aerial filming of a live projection mapping show during the 2015 Rugby World Cup. The show took place at the 02 Arena in London, where we projected onto the rooftop of the stadium. Rugby player and opera singer Laura Wright performed during the opening ceremony. With the use of 68 rigged projectors, it was one of the world's largest and most challenging projection mapping shows. We used D3 software to simulate the entire dome and then adjusted the projected content to match the perspective of the aerial filming. The experience of filming from a helicopter at night above one of the great cities of the world is unforgettable.
As a creative director, I led the design and execution of three immersive installations for a trade show hosted by the Ministry of Tourism of Kazakhstan. I oversaw the creation of a projection mapping corridor with all-around video, an interactive LED installation, and a VR experience. The government aimed to promote regional tourism by showcasing the country's natural and cultural attractions. To gather content for the installations, I led film crews across the vast country to capture its diverse landscapes. This state-sponsored trade show is regarded as one of the most important in the region and was attended by VIPs, including Vladimir Putin. It was surreal to be in such close proximity to someone of his notoriety.
I led the content production for a night-long event for Nike at the busiest corner of Nanjing Road in Shanghai. The event took place at the New World Dawan Department Store, known for its Art Deco architecture. We repurposed NBA visual material, focusing on LeBron James and Kevin Durant, and adapted it to the building's unique architecture by adding 3D glitching effects. I traveled to China to supervise a team of local technicians using D3 software, a powerful media server that allows for real-time manipulation of video projectors.
I led the content creation and supervised the projection for an experiential show in Manama, Bahrain. I worked with the client, Gulf Air, to announce their new fleet of Dreamliners Boeing 787-9. The show was projected on the Four Seasons Hotel Bahrain Bay, a 53-story skyscraper standing at a height of 198 meters above the artificial island of Bahrain Bay. I also directed a documentary of the event and art directed the visual look of the VIP lounge. The show, which lasted 20 minutes, was attended by the Prince of Bahrain. The sand particles in the air and the yellow sky at night, lit by Christie projectors, created a mesmerising experience.
As a lead animator at ITV Creative (London), I worked on the title sequence for Weta Digital's remake of the famous 1960s show "Thunderbirds are Go". I collaborated with the creative director to develop the look of the sequence while maintaining the spirit of the original show created by Gerry Anderson. The sequence used the original sound. We added fluid simulation for thruster explosions to enhance the visual experience. It was an interesting experience to work at the studios of one of the biggest commercial free-to-air television networks in the United Kingdom. The show ran for a few seasons with the same title sequence.
I directed and produced a low-budget animated music video for the UK band Yeti, which featured a former bassist of The Libertines. The concept of the video was a pastiche of 70s road movies with a classic psychedelic twist. I animated a rebellious female protagonist racing through the desert in a Ford Mustang, and a massive sandworm diving in and out of the desert in the background. Using Maya, I pre-visualised all sequences and supervised a team of four artists to refine the elements. We brought the project to life using Renderman. Despite budget constraints, I guided and inspired the team to produce a visually striking video.
As a lead creative, compositor, and motion graphics artist at Pixel Artworks, I oversaw the production of a projection mapping show on the Christianborg Palace. The show was live on election night, where Helle Thorning-Schmidt emerged as the first female Prime Minister of Denmark. We had to use a convoluted process of rendering live results of votes counting, through complicated 3D and motion graphics layouts in After Effects. The preparation took several minutes, and by the time the process was complete, the live results had already changed, so we had to re-render with new results, again and again throughout the night. We got it right only a dozen times, but that was enough for a helicopter to catch it on camera and broadcast it live.
I directed a music video for London-based house-music producer, Dj Ferno a.k.a Madmud. With a small budget and a team of just two people, we created an animated video inspired by the Warner Bros golden age 1940s cartoons. This was my first experience working on a longer, four-minute traditional 2D animation, which was hand-drawn and colored digitally. I developed my animation method by covering the entire timeline with rough drawings and movements, building complexity as I went, almost like sculpting in time. This project was my first step into the creative industry in London.
As a recent film school graduate, I joined the team at EIOK as a writer and director for a low-budget short film. The story was about the influence of media and video games on children and how it distorts their perception of reality. Despite the script being only a couple of pages long, it was packed with action. I was hands-on in all aspects of the production process, working closely with the DP, casting and directing a child actor, editing on Avid, and overseeing complex CGI in the climax sequence. The experience was challenging due to the time pressure of low-budget filmmaking.
As a temporary replacement for the CGI supervisor, I had the opportunity to work on "Harry Potter and the Deathly Hallows: Part 1" (dir. David Yates, 2010). I worked on only a few shots, and the visual effect was subtle. The scene was an underwater sequence, where Harry is struggling with the amulet. We used Houdini to design particle animation of bubbles emitting from the Harry's amulet. It was a short, uncredited job, but I gained insight into the level of detail and high-end technology involved in a major studio film production.
