I specialize in branding and storytelling through 2D & 3D design, motion, weird and wild visual ideas, an artistic approach to every design problem that needs solving, and making sure my teams are vibing with every project we're working on. xo
Thorne Healthy Aging Campaign
Through a novel combination of painting, live-action, and 3D, we told told a poetic story about healthy aging for Thorne.
Role: Creative Director & Live Action Director
Credits :
Client : Thorne
Studio: BUCK
ECD: Ben Langsfeld
EP: Joe Nash
Creative Director: Liron Eldar-Ashkenazi
Art Director: Doug Hindson
Lead Producer: Jess Pierik
Matte Painting: Doug Hindson, Fernando Utreras, Wesley McClain
2D Animation: David Hobizal, Federico Saenz Recio, Gilles Desmadrille, Po-Chen Chia
CG Animation: Chris Ribar, Daniela Portilla, Filipe Machado, John Karian, Joy Tien, Shane O'Hara
Editorial: Audrey McHale, Cameron Kelly, Talia Mazzarella
Colorist, Jose Fuentes
Compositing: Lurival Jones, Navid Bagherzadeh
Production Coordinator: Jennifer Blackwell
Copywriter: Logan O'Brien
Head of Live Action Production: Trish Rigby
Live Action Directors: Liron Eldar-Ashkenazi & Doug Hindson
DP: Derek McKane
VFX Supervisor: Chris Ribar
Line Producer: Brian Bennhoff
Production Designer: Wayne Neho
Wardrobe Stylist: Bree Perry
Hair & Makeup: Jamie Bednarchick
1st AD: Marco Ajello
Visual Poetry
Steering away from traditional supplement commercials’ obsession with “anti-aging,” we focused instead on an aspirational view of healthy aging that delivers a holistic lifestyle rather than a cure.
Playing with scale and surrealism, we created a set of sublime environments for real people to inhabit as we told our story. The painterly textures and serene natural landscapes feel like a natural extension of the visual language that had been explored in our previous work for Thorne.
3D as a Means to an End
The paintings themselves set the tone for each of the scenes, meaning the 3D elements needed to feel integrated and embedded with each landscape. Matching lighting between the painted world and our 3D objects helped to unify each environment. As well as modeling the products, we also used 3D to bring depth to landscape elements in scenes with dynamic cameras, adding parallax and a sense of depth where it was needed.
For non-product elements, like the blossoming flower, we used painted textures to break up some of the precision.
The Product as Support
Product moments were designed to feel like animated still-lifes: quiet and reflective moments, playing with the idea of passing time
Live Action
Much like with the 3D, we wanted the live-action talent to feel natural within their painted environments while still feeling intentionally “real.” We kept brush strokes and texture on elements of the environment and instead unified people and background through light and color.
Our shoot involved live-keying actors on top of paintings so that lighting could be angled and adjusted in real-time.
The cast reflected different moments during the journey of growing older—different ages, body shapes and genders.
Process: Where we started
Our starting point was loose painting exploration —playing with ways to integrate humans and objects in natural landscapes in a way that pushed scale, lighting and saturation.
We took inspiration from Surrealist masters like Magritte & Dali, as well as Romanticists like Caspar David Friedrich, where landscapes tell as much of a story as the people and objects within them.
Cutting together footage of the natural world showed us locations for exploration and started to give us a sense of pacing and camera movement.
We also used some cutting edge machine learning (EBSynth) to apply our painted style to some complex elements, like clouds and water