DENT VFX is thrilled to announce an expansion of our Amsterdam creative team with the addition of Elsa Tu to our talent roster.
An accomplished, motivated and passionate VFX Supervisor, Flame Artist, Colorist and Director, Elsa brings a wealth of experience and a world-class portfolio of work to our network.
With fifteen years of experience in high profile client-facing projects – from creating TV & online commercials, music videos, broadcast promos to feature films – this is a significant boost to our already formidable creative capabilities.
This year we had a great run with two Super Bowl spots, half a dozen of major international campaigns, and design and delivery of a seriously psychedelic trip sequence for Season 4, episode 8 “Solo” of the awesome HBO’s show “High Maintenance” (more on that in another post)!
But the biggest industry nod so far came from the Association of Independent Commercial Producers – AICP!
DENT VFX studio is very proud to share the news that Porsche “The Heist” movie, a collaboration with Cramer-Krasselt and Carbon VFX, is shortlisted in both Automotive & CGI categories along some of the best commercials of 2020!
Aleksandar ‘Sasha’ Djordjevic, our Chief Creative, was the on-set VFX supervisor (and even a 2nd unit director), working closely with director Wayne McClammy and cinematographer Ottar Gudnason.
Sasha was responsible for making the on-set creative calls, directing the 2nd unit team in capturing the 360 degree footage and background plates, and capturing a wealth of technical data for the CG team to be able to work things out in post utilizing a highly sophisticated DENT VFX shoot kit.
The awards and industry accolades always inspire us to work harder and be ever steadfast at delivering excellence!
The awesome EURO-VISION spot we collaborated on as part of an amazing team of international artist gathered together by Vico Sharabani, our friend, owner and Creative Chief of the The-Artery New York, is an honoree in Video: Animation category at this years The Webby Awards !!!
All the authors of individual segments were invited to represent their countries of origin in the famous Eurovision Song competition, so our Chief Creative Aleksandar Djordjevic played with an idea of honoring architectural and cultural heritage of his ancestral homeland of Serbia.
His vision was to juxtapose the post-modern brutalist monument architecture of post-WW2 socialist society, with the traditional and very unique mountain villages, and weave it all together under one of the most present symbols often seen on ancient Serbian “Pirot kilim”-style rugs – the turtle (“Корњача” – in Serbian.).
We are overjoyed and a little mind-blown with the nod, it was such an honor to collaborate as artists and make a piece of this puzzle with this great group of artists!!!
I had a chance to jump on a Flame for another great Samsung spot, my first in 2020, for Method Studios New York.
Method teamed up with Ogilvy and Director Marco Prestini from Anonymous Content on this fun new promo for Samsung’s Galaxy Buds+. It was an outstanding experience to join this fantastic and hard working Flame crew lead by my old friend and Method NY’s Creative Director Randie Swanberg.
Conform, do the VFX and deliver 17 HD spots, than edit and deliver 1×1 spots for Instagram-like formatting and do the same (edit & deliver) a dozen more 9×16 formatter clips for vertical cell phone watching experience? No problem!
For this funny Amstel Light campaign featuring the golf legend Phil Mickelson, the power of Flame as a system really showed. Both 1×1 and 9×16 edits Aleksandar had to do himself, pick framing and performances working off the initial HD edits.
There was splicing different performances together, and even doing a version of a deepfake effect in a shot or two of talent’s face (so they can say the right words at the right time); not to mention a behemoth of a delivery on a neck-breaking deadline of five days from blank canvas to all done.
The year started very well for everyone, before COVID-19 gave us the smackdown we, as an industry, didn’t anticipate or endure ever before.
There was a lot of fun work out there, and one of the two Superbowl spots I had the pleasure of working on (other being “The Heist” for Porsche), was a spot for Squarespace – “Welcome to Winona”, for Method Studios NYC.
I had the pleasure of finishing over sixty challenging shots on a Flame which ended up being seen by an audience of hundreds of millions Super Bowl spectators.
Starring Winona Rider, one of everyone’s favorite Hollywood stars, it weaves a story about her character finding her true self while traveling through the town she was actually named after, Winona, Minnesota.