Composed of several interwoven vignettes, this massive digital painting synthesizes modern conceptions of our place in the universe with those of the Ancient Greeks.
The project I’m most proud of.
The creative direction for Super Bowl LV was built off the NFL’s theme of SEA, SAND, SIEGE. Here is a behind-the-scenes look at the creative process behind the Open.
It was great to work with SilverSpoon Animation and CBS Sports, both super receptive to the concepts and eager to push technological boundaries.
This computer-generated particle simulation is a reflection on how [fascinating it is to realize that] perspective affects our reality. Thoughts intersperse as frenetic type -- shifting in fractions of a second, the amount of time it takes one to decide to change their perspective.
Choose to stay positive.
The projects I enjoy most tend to require distilling mutli-layered or complex concepts into visuals. Projects that benefit from having the art direction, design, compositing, motion, particles and 3D all handled by one mind so that nothing is lost in translation.
A perfect example of this would be my contribution to a project for TENCENT with the entire extremely-talented team at Ntropic. I was tasked with two things: visualizing the trajectory for the Apollo; and bringing life to the Golden Record accompanying the space flight.
PERSONAL PROJECT, 1997 - 2020...
SAND WATER FIRE explores the journey of the human soul from birth until death, with a focus on the relationship between ego and spirit.
It is the first of six short films in the SOULSCAPES series where my wife and I share some thoughts on spirituality with our kids.
VFX ARTIST (NTROPIC), 2020
As part of the 2020 Grammys broadcast, Ntropic was tasked with creating a unique but visually-consistent effect that could be applied to the music videos for each of the artists.
My mind was blown when listening to this remix of Bob Marley's classic. To convey that, I used After Effects and Element 3D to create tentacles of energy exploding out of my skull. The tentacles were created by duplicating a sphere a bazillion times and moving the sliders around until this emerged.
It’s rare for a VFX company to have an in-house project of this magnitude. Working with Alex Weil and the team at Charlex to bring this project to life in such a free-flowing, collaborative process was an incredibly rewarding experience.
© Jesse Michael Newman, 2021