Product stories, in motion.

Big thanks to Daniel Meszaros for bringing me in, and to PostScript Creative and Smirnoff for having me. I'm super grateful to have worked on such an awesome project.

The ice — I had a big hand in the custom ice material. It's built to read as a real, solid block of ice: the snow is texture displacement, and the transmission is layered from several noises with different transmission weights and depths stacked together. That stack is where the deep blues come from, with lighter tones in the upper layers.

Lighting — The gobo lighting system got adjusted endlessly, by Daniel and me, until it sat right.

Droplets — The droplets on the can, and the way they interact with each other, were done in Houdini by Daniel.

A 120-frame loop that started life as a quick exercise and grew from there. Rather than a product shot, I aimed for a graphic-design feel: flat angles, hard shadows and one soft, glowing element in the middle. No piece is ever truly finished — this is where I stopped.

Animation — 120-frame loop, fully keyframed, no simulations.

The marble — The bounce and roll are the whole point — if it doesn't feel like it has weight, nothing else works. Most of the time went into roughly eight frames.

Materials — As simple as they can be. The tubes aren't glass: no transmission, just opacity — no refraction, no caustics, and faster renders. The aim was to stop the eye wandering over material detail on background surfaces, so there are no scratch or smudge textures, only gradients to break up a colour or guide the eye.

Composition — There isn't a single 0° line in the scene. Everything sits on one angle and the shadows run on another. The track is meant to feel endless, so nothing is allowed to act as a horizon for the eye to lock onto.

Colour — Everything is grey, or close to it. The only colour comes from two lights, which are also the only soft thing in an otherwise hard scene. That's deliberate: the hero gets the soft treatment, everything else gets edges.

Sound — A touch of sci-fi, with a small amount of sound design, just enough to tie the scene together.

A tentacle character piece, made for the fun of playing with a great rig. I hope you like it — and if you don't, you know who to blame.

Rig — The tentacle rig is by Oscar Peterson.

Materials — Mostly custom — mostly, because lately I start from Greyscalegorilla materials for speed.

Eye — Model and texture by Pixelica CG.

A product-viz tribute to the 1980 Casio VL-Tone VL-1 — the pocket synth that sat between toy and real instrument and ended up on real records. Forty-five years of yellowed plastic and worn buttons, rebuilt in 3D as a retro-tech showcase.

Product visualization of an ongoing R&D project — parametric, scan-based custom insoles, each designed and printed for a real person, revealed through a foam-simulation transition.

Blue — orthopedic — structural correction (flat feet, alignment, rehab); higher arch support, precise scan-mapped load redistribution.

Red — comfort — everyday relief with fast rubbery rebound that assists push-off; great for sport and high step counts.

Black — foaming TPU — print tuned to foam the filament itself — spongy, progressive compression instead of rubber rebound.