The best commercials are more art projects, right? I think most of what Spike Jonze makes is exactly that, which is why his latest perfume spot for KENZO is so watchable. And it also happens to have a bunch of seamless vfx from Digital Domain, which I wrote about at Inverse.
Here’s a preview of the nominees for VFX Emmys this year, which I wrote about on Inverse.
Inverse had me ask a bunch of visual effects supervisors what the best direction was they had received from directors they’ve worked with. Check out their responses for some pretty cool insights from directors like Sam Raimi, Barry Sonnenfeld, Ang Lee and others. And thanks to Todd Vaziri for the idea behind this one. Link to the story.
Laika’s work on Kubo was just incredible, and although it hasn’t been a huge success, it showed off the magic that still exists in stop-motion animation. So I took at look at some present and previous innovations in the field, for Inverse.
I noticed researcher Hao Li was behind a new startup called Pinscreen which seemed to be doing some mysterious face tracking and AR app. So I talked to him about it for Inverse.
Inverse asked me to explore the history of dragons in vfx, so I went from stop motion to CG in this retrospective.
For Inverse, I wrote about some of the big developments, like original models, the first CG sequence in a feature film, TV VFX and the newest warp speed stuff for Beyond.