Maximalism meets snappy electro in a mental music video for Zedd’s single release. Conceived by Carl Addy and co-directed together, the spot was featured on Eyecannndy.com and cited as one of the most innovative spots of the year. Awesome VFX done Rohtau.

What would Jurgen Klopp have been without the sage advice of his trusted financial advisors? A baker, a dentist? This fun concept explores a multiverse of potential Klopps using Deep Fakes. Co-directed with Carl Addy.

A trippy exoSphere project showcasing A$AP’s clothing colab with Puma and F1. This played during the inaugural Vegas race and was the first time live action was used on the exoSphere. Co-directed with Carl Addy. Amazing visuals with our friends at The Clan.

Carl Addy and I directed this campaign for Boost. Created by Brent Singer and the awesome folks over at Grey NY. VFX by Covert.

Lesly Lynch and I worked with Forsman & Bodenfors to write and direct this music video-esque branded content film for INKBOX - a semi-permanent tattoo company.

"Create culture, not a commercial"

We explored themes of fluid identity and self-expression as a catalyst for positive change, with a visual identity rooted in the design language of the tattoos themselves.

A graphics package for Karim Amer's documentary about the cyber war between Russia and the Ukraine. We created a 'digital realm' to illustrate the subdefuge and propaganda happening on the media frontlines, and explored creating NeRF's of destroyed areas in Ukraince using UGC found on YouTube.

Exploration by myself, Panda Yoghurt, Gabriel Thomas, and Chet Hirsch. Awesome concept art by Tetsuro Mise.

Echoing Google’s famous ‘Year in Search’, this film reflects the insights learned from a year of YouTube hosted advertising. With the help of machine learning, Google analyzed over 20 million ads to identify noteworthy trends.

Inspired by the Chuck Jones’ seminal film, The Dot and the Line, the film leads us through a magical landscape of a calendar year of insightful analytics. 

Film titles we did for my friend, Lesly Lynch.

Exploring themes of gender identity, physicality, and love, Trip focusses on three characters exploring the Parisian underground. Part documentary, part fantasy, we follow their drug-fueled journeys as they find like-minded people, and the courage to be themselves.

Using transparent mannequins to represent archetypal body forms, we shot purposefully abstracted images that force the viewer to question what is male or female. The empty forms gradually fill with smoke and colored light, representing the idea that your physical form is merely the container for your true self. The male and female body parts fluidly blend together to form psychedelic and ‘trippy’ club-like visuals.

Shot by Mike G and cut by Leanne, and graded by Damien Van Der Cruyssen.

A Magical Tale of Teamwork Returns a Lost Lottery Ticket to its Rightful Owner

Working with McCann NY, we created this heartwarming yet dynamic relay-race story of a park ranger being reunited with her lost ticket. A story brimming with magical realism and embodying the holiday spirit, we shot in a NY state park using a cast of both CGI and live action animals native to NY.

Beautifully shot by Aril Wretblad and cut by Ryan McKenna.

Like Jacques Cartier on his inspiring trip to the Middle East in the early 1900’s, artist M.C Escher was profoundly influenced by the intricate interlocking geometry and decorative patterns found in the region's art and architecture. 

He became obsessed with tessellation: geometric decoration in which triangles, stars, or squares are repeated like tiles to cover a plane. Through this fascination, he developed his famous series entitled Metamorphosis – transformative artworks rooted in the themes of eternity and perpetuity, designed to delight.

Using this idea as a starting point, we developed and produced a concept for the Ramadan 2019 campaign for Cartier, Middle East. We shot plates at the beautiful Mahkama Du Pacha palace, in Casablanca, then developed the language of metamorphosis that transformed details of the palace into precious Cartier designs, and gemstones.

Co-direciton with Anais La Rocca, Shot by Adam Carboni, cut by Leanne Belgiorno.

A fun spot we made alongside the creative team at Arts & Letters to develop Google’s latest movie-driven campaign.

This spot envisages what iconic movie moments from throughout the years would look like with the assistance of Google devices. Watch what happens when these movie characters ‘Make Google Do It’.

Working with the team at m:united, we created an elastic world where imagination and reality blend seamlessly together through Windows 10. Inviting designers from around the group to contribute their ideas, the film is entirely created (and performed by!) Mill talent.

Shot by Mike G, cut by Ryan McKenna, and starring Lauren Shields.

Awesome music by Mophonics.

AICP nominated for best direction, this film was designed to inspire younger generations to get out and vote for representatives who advocate for sensible gun control laws. Written by Kesha, Sage, Chika, Pebe Sebert, and Drew Pearson, the song was created as an artistic response to the mass shooting at Marjory Stoneman Douglas High School in Parkland, Florida.

The film is a looping, metaphoric visualization of the predictable events that follow a mass shooting. Using the overly complicated and at times comical mechanics of a Rube Goldberg machine, the story takes place inside a school while a shooting is occurring.

The film is a looping, metaphoric visualization of the predictable events that follow a mass shooting. Using the overly complicated and comical mechanics of a Rube Goldberg machine, the story takes place inside a school while a shooting is taking place.

After every shooting, there’s outrage, prayers and false promises. Then it happens again. End #TheMostViciousCycle. Vote for candidates who support sensible gun laws and share the video. #VoteForOurLives on 11/6.

Here is a Huffington Post article about the film.

We wrote, developed, and produced this whimsical film for IBM illustrating the human impact of using AI to better schedule resources in the US Marine corps. A child's homemade treasure map mirrors the journey of a Marine toward his greatest treasure: home 

Better scheduling = more time at home.

Shot by Michael Girandola, Cut by Ryan McKenna

The anthem film from the new US Marines campaign.

From beginning to end, this project was all about authenticity. We wanted the final results to feel as real as the epic moments in history we were depicting. We spent a lot of time researching genuine, specific moments from history that personified Marine Corps values of honor, courage, and commitment.

We strived to faithfully recreate the craft and material finishes of bronze sculpture work, and used lighting and cinematography to underpin the sense of realism. 

As they were all frozen moments, we used focus, lighting and camera movement to lead the viewers eye through the shots. 

The campaign was inspired by the awesome work of artist Kris Kuksi who JWT Atlanta commissioned to make two additional sculptures.  

For a full list of credits, go here.  

This is the trailer for my short film, Product Recall. Scroll down to watch the whole film or go to the dedicated website here.

The real and imaginary collide with tragic consequences as a prodigal physicist at the Large Hadron Collider works to answer profound questions about our universe.

Believing he's unlocked a frightening secret about the origins of matter itself, he suffers a breakdown. Struggling with his own demons in his search for the ‘God particle’, he returns home to convalesce.

Was his breakdown the natural result of a genius but flawed mind? Or a celestial intervention designed to prevent him from exposing his discovery? 

Starring Hans Longo, the film was shot by Ivan Abel, cut by Ryan McKenna, with Production design from James Maher. The original score is by Ben and Max Ringham, with sound design by Jeremy Siegel at Heard city Studios.

Working directly with Bira 91, a young brand for a ‘new India’, we wrote, developed, and produced this playful and surprising film for the launch of their brand worldwide. 

Its youthful, mischievous personality, rooted in innovation and flavor, is designed for a younger crowd: technologically savvy urbanites, who shun the traditional boundaries of work and play – a sentiment neatly expressed through Bira’s irreverent tagline, “Make Play”: A deconstruction of ‘make way’.

“A Bira Commute” – An everyday journey transformed into a magical dance party, was Inspired by the “Masstransiscope,” artwork in NYC. As well as providing a fun and adaptable mechanism for launch city localization, the brief was to create a film that pivots around a twist that transforms the ordinary into the extraordinary.

Shot by Adam Carboni, Cut by Ryan Mckenna, Production design by James Maher, Storyboards by Syd Fini.

A film celebrating the Stan Lee’s creations for the Marvel universe. Like a benevolent King posing as a regular citizen, Stan Lee travels through the dark streets on New York incognito, thoughtfully observing his creations and taking time to reflect upon them.

The idea was to link moments in the Netflix shows to Stan’s journey so that the film felt like it all took place in real time. I had the honor of shooting with the great man himself :)

Pitch storyboard by Syd Fini.
 

The first in a series of films for Cartier Middle East celebrating the rich culture and visual style of the region that inspired Jaques Cartier.

Working from an open brief directly from the Cartier team in Dubai, the luxurious liquid metal in the film is metaphorical of Cartier’s journey of discovery in the region at the turn of the 20th century.

Over the course of the film, the metal discovers and embraces both the visual language and the precious stones of the region.

Respect for the ancestry of the Gulf region and longevity are important to both Cartier and the culture and heritage of the Middle East. In honor of this, the aim was to craft a film that feels somewhat like a fable being recounted by a family elder around a campfire. Magical and legendary.

The poetic script was written by and Kinda Akash who also co-directed.

For a full write up, go here.

Another film for Cartier, Middle East this time featuring a fully CGI Panther.

With the iconic Cartier Panthère at its heart, this film is a celebration of love, family, and the spirit of giving found during Ramadan and Eid. Following the Panthère as the catalyst and hero, viewers enjoy a transformative journey of effervescent illumination, as she spreads the magic of Cartier throughout an imaginary Arab town.

Beginning in darkened, moonlit streets, the film builds towards a joyful crescendo, where the whole town is alive with warmth, laughter, and light.

Written and directed by myself and Kinda Akash.

For a full bio, go here.

A prologue explaining the 100 years of history leading up to the beginning of film, Pride and Prejudice and Zombies. 

Authentic to the Regency-era, a dusty tunnel book provides a theatrical stage for the fictional narrative to take place. Working with satirical cartoonist Martin Rowson, we designed the Gillray inspired illustrations to tell our story. These were then transformed into 3D scenes and rendered to match the timings of the VO.

Beautifully rendered by Yong Chan Kim, title design by Chet Hirsch, storyboards by Mark Yates.

For the full Art of The Title interview, go here. For a full list of credits, go here.

The moment when Snowden realizes how deep the rabbit hole goes. I worked with Oliver Stone to create this abstract sequence for this pivotal moment in the film. Inspired by big brother and the exponential multiplication of data, the sequence builds before returning to where it started - with Snowden.

For  a full credit list, go here.

Two films for the Kenmore ‘Be Amazing’ campaign by Havas Worldwide.
Shot in Canada by Igor Martinovic.

For a full list of credits, go here. 

An action packed 2016 Super Bowl spot for the new Schick Hydro Razor. 

With the intricacy and finesse of a Hollywood blockbuster, the Hydro razor transforms into a high-tech warrior to do battle with his nemesis. The prosaic setting of a bathroom sink provides the stage for their highly choreographed fight scene.

Working with Kurt Kaufman, we designed both characters in the film. Shot by Adam Carboni, cut by Charlotte Carr, production design by James Maher.

For a full list of credits, go here.

A mouthwatering teaser film created for the SYFY show, ‘Krypton’ - the prequel show set in the time leading up to the eponymous planets destruction. Working with Eric Chang, we conceived a script that rewound it’s final explosive moments, re-forming the planet where the show would take place. 

Previs and camera by Josh Frankel.

Ship design by Kurt Kaufman.

The film was shown at the upfronts NYC in 2016. 

I worked with Co-director Bryce Wymer to make this title sequence for the Netflix original series, Marco Polo. 

The brief from the Weinstein company was centered around how this show was not like that of your fathers' generation. It was to be violent, raw and full of danger all set against the lavish backdrop of Kublai Khan's court.    
The idea was to contrast this richness with the simple black and white of ink and paper, the authentic materials of Marco Polo's famous memoirs. The macro imagery of mercurial traveling ink was a metaphor for his journeys and spoke to the beautiful and familiar imagery of the time. 

Shockingly, instead of lotus flowers and pastoral scenes, the ink formed images of severed heads and impaled victims, motifs inspired by the key themes in the show - violence, greed, betrayal and sexual intrigue.

For an interview and breakdown of the sequence as well as a full credit list, go to the Art of The Title article here.

Storyboard frames by Mark Yates.

Lara Croft meets futuristic robot design in this latest spot for the Schick brand.

Working with Kurt Kaufman again to design an all new female character for the Hydro-Silk launch, the film is a fun misdirect with Hydro Silk searching through a mysterious jungle in search of the secret of eternal hydration. Or is it.

For a full credit list, go here.

The futuristic spot for Boeing's centennial anniversary, ‘You Just Wait’, imagines the possibilities brought about by another hundred years of innovation.

The world in 2116 is presented as an exciting place where we drive flying cars, fly supersonic intercontinental jets, and travel into space to inhabit Mars. The most exciting aspect of this project was working with the Boeing ‘futurists’ to design our theoretical vehicles. We bookended the story with a character, a little girl, to give the film a human feel. The twinkle in her eye alludes to her future role as an engineer or inventor of a new technology that will make the world a better place.

Production design by Nick Goodman, shot by Rob Hauer, and concept design by Tung Chow Hsieh.

For a full credit list, go here.

Toys are nothing without the imagination of a child to bring them to life. This spot is about illustrating that idea by showing the imaginary and real worlds, one after the other. 

The heroic characters of the child’s epic and fantastical story, are revealed to be resourcefully hand made from paper and Playdoh when the child’s playtime is interrupted.

My daughter, Sadie (6), provided the inspiration for the monster character.

The spot was shot on location in Majorca by Tuomo Virtanen and Palma Pictures. Read the full Mill blog article here, and see a full credit list here.

Three great films for the second round of commercials I’ve directed for this campaign. This time we shot on location in NYC.

Amongst others, I got to work with production designer Mark Newell, the talented Ilana Becker, and DP Ivan Abel.

All shot on location in and around Vancouver, this film is about illustrating the amazing technology LM is developing, by glimpsing into a near and prosperous future. 

Shot with Gyula Pados with production design from Vancouver's finest, Greg Loewen. An epic production all seamlessly arranged with the expert help of Ted and Phil at Lemonade Films. Cut By Ryan McKenna.

Co-directed with Angus Kneale, this spot showcases the transformative power of rail freight through the construction of a toy city.

A metaphor for the prosperity rail networks can deliver, this film used a child's bedroom and all of the toys that live there as its stage. We designed ver 40 individual toys and pop-up books from scratch for the spot.

Shot with the Bill Pope with production design from Joe Cooney.

For a full credit list, go here.

The concept for these films was to create a surreal ice world setting for the Olympic athletes to train in. Metaphorical of their hard - and often solitary -  training routines, the environments had to look hostile and imposing.

Half imagined and half real, the idea was to use the environment as the opposing character in the story of each athlete. A big design challenge for the films was to find the right balance of reality and imagination and set the right tone.

Even though it was the middle of summer in Montreal, the spots were shot on location, giving it better framing reference for the final VFX backgrounds, and more realistic lighting for the talent and in camera elements. For the most part, the weather cooperated, with overcast clouds providing the flat lighting that was needed. When the sun did come out, silks we used to diffuse the light and create the same effect.

Shot by the future Oscar winning DP, Adam Carboni with practical effects by Intrigue-fx in Montreal, and matte paintings by Henrik of Somnio studios.

For a full list of credits, go here.

Two films from a wider range, designed to evoke the spirit of craftsmanship, quality and innovation synonymous with Rolex.

Through sumptuous illustration and artfully rendered animation, each film captures the individual essence of a particular watch, romancing its history and features while speaking to the legacy of the brand.

Original style frames were made by the talented Tim Haldeen.

The launch film for the Valspar choices campaign, co-directed with Yann Mabille. As well as staging the performance of the film, we developed the characteristics and designs for David and Val.

Design and illustration with Tim Haldeen.

For a full credit list, go here.

A Canadian Super Bowl spot preceding the 2014 winter Olympic games.

This spot unveiled a CGI version of a real 80ft flying blimp shaped like a hockey goal light. The blimp flew above major Canadian cities during the Sochi Olympic games, lit up and made noise whenever the Canadian team scored.

This was part of a clever integrated campaign where fans could buy their own programmable goal light that would illuminate whenever their team scored.

Shot on location in Vancouver with Ted and Phil at Lemonade Films. Greg Loewen providing the production design, and Adam Carboni shooting.

For a full credit list, go here.

These are first two films that I directed with the enigmatic 'Box' for Progressive. 

All shot on location in LA by Paul Laufer with production design from Nick Goodman. The shoot was produced by Rich Schwab of RBS-Productions.

A time-lapse animation of a seedling growing into a vine which pampers and protects its ripening tomatoes. Real time-lapse photography was shot as reference for the animators by photographer Michel Amado Carpio in Guadalajara, Mexico. 

Principal photography was shot by Carlos Veron.

For a full credit list, go here.

Two spots focusing on odious character designs for Glad Forceflex.
Expert design assistance from the epic Kris Merc, shot by Adam Carboni, with production design from James Maher.

One spot from a broader range featuring miniaturized animals for Officemax's Big Deal campaign.

For a full credit list. go here.

My cut of a brand film for Sleep Number. Co-directed with Alex Maxwell and shot with Tim Hudson in Vancouver with Lemonade Films.
 

A 2011 Super Bowl spot for the NFL dedicated to the 'Best Fans Ever’. 

Grey NY's American Family unites many generations of football fans through a narrative featuring beloved sit-com characters spanning generations. Among the cast, favorites from Happy Days, The Dukes of Hazzard, Alf, The Brady Bunch, Seinfeld and The Office, to note a few.

Co-directed with Ryan Mckenna. For a full credit list, go here.

The promo for the hotly awaited reboot of the Kid Icarus franchise. 

For a full credit list, go here.