In mid-2018, Andrew teamed up with Springbok Entertainment to help create “THE 100%”, the first in what is planned to be a series of immersive experiences detailing the stories of inspirational cancer survivors. This first experience tells the harrowing and inspirational journey of Maggie Kudirka, a ballet dancer and rising star at the Joffrey Concert Group,…
SPECTRA was a groundbreaking app that used 3D data from a Google Tango-equipped smartphone to make art – unlocking a type of creativity previously limited to a small group of elite creative coders and making it as accessible as Instagram. This is a new kind of photography – one that uses shape and 3D position instead of RGB pixels – with results that are abstract, ethereal, and undeniably unique.
Disney released a 360º VR tour of the latest addition to their Animal Kingdom park in Florida: Pandora – The World of Avatar. Andrew and John Fragomeni provided Disney with post-production services on this piece, which included editing, graphics, animation, a CG environment for lead Imagineer Joe Rhode, compositing, and color grading. The final sound mix was provided by John Hendicott at Aurelia Soundworks, a frequent collaborator on many of the 360º projects seen on this site.
Originally slated to co-direct this thrilling parkour ride through Mojave’s airplane boneyard with his long time collaborator Ben Hansford, Andrew had to hand directing over to Ben at the last moment due to the sudden and premature birth of his son. In the end, Andrew produced, edited, and provided much of the stitching, cleanup, and graphics for this segment of season two of USA Today‘s episodic 360º show VRtually There.
For Comic Con 2016, Within and Here Be Dragons partnered with Sam Esmail to bring his show Mr. Robot into virtual reality. Andrew supervised post production stitching/cleanup, CG ceiling replacements, and a stylized dream sequence montage for Mirada’s portions of the 13-minute 360º video. The experience was ‘simulcast’ in a specific synchronized time window across Within’s VR apps and at a live event at Comic Con, then shown exclusively at the convention in a recreation of Elliott’s apartment.
In 2014 U2 made a music video for “The Miracle (Of Joey Ramone)” from their new album of the same name. Andrew was the VFX Supervisor for a 4-week shoot in France and Dublin and led the post of both this music video and a commercial for the iPhone 6 launch which was created at…
in 2014 Apple and U2 teamed up to make an epic commercial for the launch of the iPhone 6, and Andrew was the VFX Supervisor.
Mirada partnered with Headcase and ad agency Digital Kitchen to create an immersive VR experience for “The Strain.” Andrew was the technical supervisor on the project overseeing all aspects of production through post. The story follows Vasiliy Fet as he leads viewers on a 360º journey through an abandoned warehouse, while under threat of attack from vampires.
Andrew supervised this complex all-CG VR experience for GE’s annual Minds and Machines conference. Designed to give power plant operators a glimpse into the ways that GE’s new Predix industrial internet can improve efficiency, this experience features a first-person dive into what the future of industry will look like.
Experience Michigan Football like never before. These 360º Virtual Reality experiences brings you into the huddle, onto the field and inside the program from an incredible player’s perspective. Andrew helped to lead the technical supervision of the experience, aiding in the stitching and organization of the huge amount of video 360 data.
Andy worked with frequent collaborator Andrew Shulkind on the edit, stitch cleanup, graphics, and final grade for this behind the scenes 360º look at the main set for Warner Brothers’ comedy “The House“. Featuring audio from the film, each scene shows the progression from total dump to high-end casino that Frank (played by Will Ferrell) performs on his own house. This immersive video was created from a series of spherical HDRI images, and relied extensively on Affinity Photo‘s 360º paint and compositing tools. The final title card was converted into proper spherical perspective using Mettle‘s Skybox, and the edit was completed in Premiere.
To kick off its historic “Let There Be” centennial campaign, UCLA turned to Mirada to create a live event spectacle. The experience transformed UCLA’s most iconic building into a living mural – using sophisticated projection mapping to produce visual overlays that blanketed Royce Hall, converting it into a canvas for the emotionally powerful story.
This 6-minute film chronicles stories of how digital payments are empowering individuals, communities and even entire economies. From the steamy streets of Yangon to the pueblas of Mexico City and the bustle of Chicago, we shot hours of footage to tell this story on a 23-foot screen array at Visa’s headquarters. Andrew was technical supervisor…
“3 Dreams of Black” is a transmedia extension of the concept album ROME. The song “Black,” is a dream-like, first of its kind interactive music video. Andrew served as the technical supervisor on this project, overseeing the animation, interactive design, and translation of programmed behaviors into WebGL.
Channeling the spirit of the spectacle of the IBM Pavilion at the 1964 World’s Fair, this installation at Lincoln Center in New York, created three unique experiences to engage visitors in a conversation about how we can improve the way we live and work. Andrew worked for Mirada to supervise many aspects of the installation.
This commercial uses seamless compositing to combine a single long take with real and CG food. Andrew served as VFX supervisor for this commercial and the two shorter versions that were created for the same campaign to introduce the new Taco Bell mobile app.
Andrew was the VFX supervisor for this CG-based commercial, created in Maya/Maxwell for the launch of the Nintendo 2Ds.
Andrew supervised the shooting and VFX for this series of commercials announcing 4 new computers for HP. He simultaneously oversaw the creation of very large still frames for print and billboard use for the products in this campaign.
Andrew supervised the VFX for this series of commercials, as well as the imagery used in print ads for United Healthcare’s “By The Numbers” annual campaign.
Andrew supervised the shoot and VFX for this DiGiorno Pizza commercial.
Andrew was the CG supervisor on this animated spot for the announcement of Hershey’s Drops. Choreography was provided by Charles “Chucky” Klapow, who worked closely with Mirada’s animators to give each drop a unique character and a role to play in the final coordinated dance number.
Andrew supervised the fluid simulation, rendering, and compositing for the end tag and print components of the launch for Chase’s new Liquid credit card.
Andrew supervised the VFX on this campaign of commercials for Michelob Ultra beer.
The task at hand was to create photoreal CG of popcorn, coke, and ice in stereoscopic 3D for a commercial that would play before every 3D movie at Carmike Cinemas. Maxwell Render offered a universal platform that worked and rendered out of all software packages on the project, delivering a product that looks sexier and…
This beautiful cinematic spot, by Motion Theory for the Audi R8 via San Francisco-based Venables Bell & Partners, leads viewers on a Darwinian pursuit, covering 300 million years of biological and technological evolution in 60 seconds. The creative team built on the realism of live-action footage—that included capturing practical effects like rainwater-filled footprints and the tracks of a galloping horse—and enhanced its breakneck pace and blended the evolutionary leaps. The result is a seamless pursuit that heralds Audi as the apex of the phenomenon of forward motion that pushes technology and human society ahead.
Andrew co-supervised the shoot and VFX on this commercial for Mott’s new Garden Blend vegetable drink with John Fragomeni and Marion Spates at Mirada.
Andrew was the CG Supervisor on the fun and over the top Katy Perry video for her hit song California Gurls.
Andrew was the fluid sim supervisor on the complicated production on the spot to announce the World of Color exhibit at Disney’s California Adventure. The World of Color production spanned February through June, 2010. The visual effects teams were charged with conceptualizing and designing the story for all animations – including directing Mickey’s animation with…