case studies & exemples
Tailor made footage
Lancome, BMW, Biotherm, Buick, Swarovski, Devialet...
Whether it is helping a brand, an agency, a production company, a post production studio or an artist (etc...)
reach a specific vision or working with you to illustrate a point...
Production tools are set to meet technically and creatively challenging projects.
Footage available for licensing
Storytelling and abstract imagery
When director Paul Mignot asked me to join this project, we decided to take on the challenge of creating an entire film with no computer generated images. To do so I conducted research on the workings of the human brain and how best to illustrate it. I then filmed live elements such as plasma balls and optical fiber along with other secret receipts... then Thomas Vanz assembled the footage in After-effects to further pursue Paul's vision.
AGENCE : HUMANSEVEN
Directeur artistique : Jordan Molina Concepteur rédacteur : Ludovic Miege
Planneur stratégique : Éric Mironneau
Responsables agence : Christophe Dufour, Frédéric Guiraudou, Camille Malgras
Production : Pascale Vinzant Production digitale : Laure Desroches
TV Production : Sarah Bouadjera
PRODUCTION : HRCLS
Compositing : Thomas Vanz Production son : Mathieu François
Sound Design : Anaïs Khout Composition Originale : Polérik Rouvière
Atelier des lumières
The Atelier des lumières in Paris commissioned Paul Mignot and I to make a film for the first edition of the immersive art festival. The following visuals were shot live on a 1cm2 surface, to be screened in the 3300m2 of the Atelier des lumières in Paris.
We decided to divide the Atelier des lumières into separate universes. The audience could then choose between a trip towards towards life, or chaos.
With over 10,000 visitors we would like to thank the entire Atelier des lumières and Immersive art festival team.
Bringing concepts to life
Dans la brume
VSF supervisor and flame artist Bruno Maillard asked me to develop the fog's surface texture. The fog needed to look alive, frightening and most of all, real.
The smoke I developed was shot to be composited at Fix Studio / Quad on the surface of a CGI fog developed by Fix Studio's team. Working with live elements allowed us to make fast and intuitive tests, in search of the perfect accident. All this with a level of textures and realism difficult to reach with CGI.