Once in a while I find myself with the privilege to get to work on projects that are vastly different from anything I have ever done before. The nature of the visual arts industry projects is that the teams a lot of the times are a completely new constellation of talents. The group that I had the honor of collaborating with for this was people that were all extremely dedicated and at the same time very quick to change direction when needed. Switching gears can be painful when you want to put your passion in your work and refine that work. You have to stay humble and let the creative process have it’s way and keep your eyes on the end goal.
Nissan’s rebranding film came with several big technical challenges that were wisely maneuvered by the leadership. The fact that we needed to make an animation to be delivered in 4K but also in an 11K wide version was not only a question of hardware capacity but more importantly compositionally. Of all these brief moments/worlds there were also specific edits for these at all possible specs.
I’m really proud of what we achieved together during a transition from normal office hours to a lighting fast switch to working from home with all the early kinks that came with that during a very unsettling time for everyone. Truth be told I have for long been a fan of Elastic and it was a dream of mine to have a work experience with them. I feel gratitude for this time and the friends and contacts that were made. My role on this project was Lead Compositor/VFX Supervisor
Big ups to production, the fearless Creative Director Duncan Elms who let me come in and put my flavor and thoughts into this, the designers, fx artists, editors, engineers, runners, schedulers, Colorist Paul Yacono and more.