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I.A. : Tell me about the collaborate process between MassMarket and Psyop this project.

J.L. : As I mentioned before, Psyop is an animation/production company with all directors in house. While we share resources and talent for various projects, in situations like this we cater to Psyop as we would outside production companies and directors and assemble a 3D, 2D and production team to complete the work. In effect MassMarket is acting as VFX house for Psyop. I think for a lot of people, they find it a bit confusing and always want to know what's behind the curtain of Psyop and MassMarket. To us it makes a lot of sense and we believe it’s the way the business is going. People can't get too caught up with who's competition or who can't work with whom. In the end, if you want to do great work you have to stay open. We think collaboration is the future. We'll work with anyone if the work is right. The feature film side business is not so precious when it comes to collaborating and various VFX houses will work on something together and I think the Ad industry needs to get on board with this.

To answer more directly, the process is truly collaborative when it needs, but both sides are busy with their independent directions as well. Our goal is to work with the best directors and agencies out there and offer them access to designers who they might not find at other traditional VFX houses. Right now we have a project that we are doing in house in which we are working with Gaelle Denis out of Stink. She is a former director from Passion Pictures in London and obviously knows her way around 3D and 2D. In this situation she needs artists who are familiar with her aesthetic and design intensive projects but also needs a house that will work with outside directors. In this case, she's like one of the team. She's here everyday and sitting side by side the team-she's become one of the team - actually, I’m tempted to give her some roto work.

I.A. : Was the the Beachball Pepsi ad spot in many famous landmarks? Can you list some of the locations? Please tell me about MassMarket’s creative role in this project and if there were any challenges.

J.L. : The spot was shot in New York, Brazil, Morocco and White Cliffs of Dover in England. Our role in this project was to technically and creatively build a 3D beach ball that would look completely real and, at times, interact with the people on the ground. The biggest challenges were first off to get the proper feel of a giant ball moving through the air, focusing on getting the right motion but equally the proper scale in regards to the surround environment. The clients always wanted it big and visible, so we needed to play with scale to see what would work for each scene. The crowds were definitely a challenge, especially when they interacted with the ball. We used a combination of Live, 3D and 2D composites of the crowd.

I.A. : Regarding the Absolut spot, you've put a lot of attention to the details of the VFX. In what sense was it a different project from others you had previously worked on?

J.L. : The question almost answers itself. The difference for this spot was that we had to focus on the minute details of glass, light and water and how these elements interact together. Most of the projects we normally deal with have us combining objects in a real environment to look real, but most often in a larger scale. For this spot we had to focus solely on close-up shots of glass and water. It was a lot of fun though and a chance to do something different.

I.A. : Is it the most VFX intensive spot you've work on?

That's hard to say. It was challenging, but for different reasons. We've definitely been part of spots that were more epic and involved, requiring larger teams and longer periods of time. Our Siemens project that we did in 2006 was probably the most involved project.