Client: Parle Agro Creative Agency: &Walsh Creative Director: Jessica Walsh Art Director: Lucas Luz Director: Drew Kirsch Production Company: Tomorrow Post-Production: DI Post Executive Producers: John Poliquin, Colin Minihan Producer: Meika Wagner Editors: Ben Winter, Ben Knechtel Colorist: fortyork.tv Post Audio: Timeline Audio VFX Supervisor: Karl Hein Concept Artists: Nick Stechyson, Kate Raymond Character Animation: Wade Cross, Andrew Embury Modelling: Alex Sheludchenko Rigging: Chris LeSage AR Plugin/Connection Toolkit: Brielle Garcia Compositing: Karl Hein
Client: Bath & Body Works Agency: Spacejunk Producers: Christa Cox, Melina Fuentes Creative Director: Mike Beaumont Director: Miranda Dumm DP: Jason Hambach Editor/Colorist: Kurt Keaner VFX/Compositing: Karl Hein Animation: Nick Couts
Client: Baskin-Robbins Agency: 22Squared Post: DI Post Director: John Poloquin Producers: Colin Minihan, Meika Wagner Editors: Ben Winter, Ben Knechtel VFX/Compositing: Karl Hein
Client: Instagram Post: DI Post Director: John Poliquin Producer: Colin Minihan Director of Photography: Santiago Cantillo Editors: Ben Winter | Brandon Bernier 3D Animation: Tony Copolillo | Karl Hein Compositing: Tony Copolillo | Karl Hein
Working with director Nick Peterson and Green Glow Films, I helped with the majority of VFX for this music video for McKenna Michels. A tale of deception, betrayal, and witchcraft, it was vital for the set pieces to look and feel like something out of the 18th century. My work mainly consisted of removing any evidence of modernity, including cameras, lights, cables, tanks, ropes, and various other production-related items that topped up in frames. Another big sequence I worked on was simulating the blood splatter and pool. Since the production was shooting in an actual historic location, spraying blood all over the walls and dumping it on the antique floors was definitely out of the question.
VFX BREAKDOWN
CREDITS
Starring: McKenna Michels Directed by: Nick Peterson Production Company: Green Glow Films Executive Producers: John Dismukes, Stephen Wayne Mallett Producer: Hans Boysen Cinematographer/Colorist: Garrett O Brien VFX: Karl Hein, Tony Copolillo
After launching a successful campaign for Smoodh with Varun Dhawan as their spokesperson, Parle Agro wanted to update the spot with a more realistic looking (while still stylized) room for the Coffee Frappe scene that fit better with the other two rooms.
Because the two practical sets used a combination of recognizable food items (chocolate bars and caramel squares) combined with one or two more “fantastical” elements (the Seussian trees), I opted to keep with this theme for the new environment, choosing to showcase coffee beans as well as more fantastical, café-inspired elements.
For more dynamics in the space, I created two fluid simulations (the "lazy river" with floating beans and the coffee pour) to relate back to the one in the Chocolate Milk room. The lazy river was created using a few different mesh deformations as well as some dynamics "fakery" on the floating coffee beans. The coffee pour was created with a combination of a more traditional fluid simulation as well as a very art-directable ripple effect in Houdini.
PREVIOUS ROOM
SYLEFRAMES
FLUID SIM SETUP
CREDITS
Client: Parle Agro | Smoodh Agency: &Walsh Post: DI Post Director: John Poliquin Producer: Colin Minihan 3D Animation: Tony Copolillo | Karl Hein Compositing: Tony Copolillo | Karl Hein
Vandyl, a new e-sports venture, is looking "to disrupt what it means to be a gamer, artist, creator, and human by facilitating the best talent in gaming, while producing groundbreaking original content." With a new Halo Championship Series team signed, they approached me to help them craft an announcement trailer that would set the tone for the rest of the season and help bring Vandyl's brand language into 3D animation.
Working with their designer, we developed a story revolving around "The Vandyl," a wandering cloaked being, with no defined figure or identity, moving through a world scattered with the remains of historic battles. Working first in Cinema4D for the initial character design, then moving over to Marvelous Designer for the cloth simulations, The Vandyl was designed to be a powerful but fluid silhouette, with his cloak obscuring any defining features except for the orange glow emanating from his boots.
The rest of the video was created in Unreal Engine 5 to make use of their Nanite system for handling complex geometry as well as their Lumen system for handling global illumination.
CREDITS
Founder/CEO: Justin Havey Art Director: Audrey Stemen 3D Animator: Karl Hein Editor: Xavier McAllister
Published by karlhein00@gmail.com inAnimation, VFX
