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How creative freedom can lead to the best design results

You are a motion designer and creative director. How do you balance these roles?

Both roles are what I enjoy doing most, so I can easily balance between them. I know my creative skills, my technical know-how and the skills of the people I recruit so that I have ideas that we can best implement. There are no contradictions between creation and production and everything runs smoothly. Even if we have to go beyond that, I know exactly how far we can go.

Tell us about the most important events in your career.

I can remember the following events: my promotional videos are running on three TV channels, working at BBDO, creating SNS projects that have brought me awards at international advertising festivals, working for myself with world-renowned brands and my video for Levi’s is running on Times Square.

They won silver for the GT5: Google Street View Banner project at the KIAF advertising festival, one of the most prestigious in the industry. Tell us more about the project.

Sony’s task was to show the realistic graphics of their racing video game Gran Tourismo 5 for the Play Station. But it had to be done in an ordinary internet banner. Since Google Street View provides the most realistic image of our world, I had the idea to integrate it into the banner while keeping it interactive. Basically it seemed impossible. But eventually I managed to find a programmer who made it possible. We were able to create the ability to drive three tracks from the game using a keyboard and mouse. It was Google Street View, viewed from the cockpit of a racing car, in the format of an ordinary internet banner. Nobody in the world had done that before!

Today you have your own Creative Motion Design Studio called Videocase Production. Your customers include T-Mobile, Levi’s, Pokémon Company, WarnerMedia, Nesquik and many others. How did you manage to reach this level and work with well-known brands?

Each of these clients first came to me when I was winning international pitches. Later they continued to work with us due to the high quality of our previous work for them. In the first case, it is crucial to choose the right approach and key to a specific customer and his tasks. Sometimes you even have to think for them and decide what they really need. And the second case is about creativity and excellent execution.

For the Pokémon TCG FAQ series, you created 17 animated videos in 7 languages. 119 videos in total. Is it a normal volume of work for your studio? How did you work on the order?

No, it wasn’t the usual volume. And it was probably the most difficult project from both a creative and production point of view. Pokémon Company has its own production studio, assets, project structure and sources for it. We had to fully engage with them, understand how everything was arranged to not only create the videos of the right kind, but also the source that had to match the structure of their production. We managed to get this train of 119 “wagons” going and, after fixing small problems, delivered it on time and in such excellent condition that the customer came back to us a few months later and gave us a second similar project for 42 videos . Complex projects “pump” your skills better and faster than ordinary ones. And Pokémon has given us the most powerful evolution in every way.

What projects do you particularly remember?

In addition to Pokémon, the video for Levi’s in Times Square. I also remember the project for the Snowpiercer series on TNT and Netflix. For the first two seasons, they held an international competition to design vehicle concepts for their post-apocalyptic train. I won both and created 11 concepts for them. It was an unusual experience because I had never created concepts before.

And when it comes to current projects, I really enjoy working with T-Mobile. They are very brave and give me a lot of creative freedom. The result is truly extraordinary projects with great motion design and creative ideas that transport your messages in an exciting way.

How has your style changed over the years? Are there any favorite techniques that can help us recognize your works?

Our motion design has become more dynamic and bold lately. There are no techniques that can help you recognize our works because almost all of them are made in different styles and are unique as we adapt to the needs and desires of each client.

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