By providing that “digital paintbrush”, Frankie ensures those ideas reach one shore to the next totally intact. Abstract ideas must be communicated across vast differences, with clients located in many of the world’s continents. “For us, Frankie is a paintbrush that we hand to clients, who otherwise might not express themselves visually,” begins Embassy VFX Supervisor Michael Blackbourn.Īs with any creative studio working today, Embassy operates in a landscape of total global production. With Frankie, Embassy VFX ensures its core creative skillset remains at ultra high-quality from project to project.
The slate of projects continues to grow, and with it, so too does The Embassy’s embrace of web-based review and approval solution Frankie. The team has also worked on explosive simulation effects in Elysium avalanches of evil attacking snowmen for Nissan and photorealistic jet liners for Cathay Pacific. Its skill in photorealistic vehicle creation has led to contracts with the world’s largest automotive and transportation companies, but it has also resulted in VFX work on defining Hollywood franchises like Iron Man and sci-fi blockbusters from The Hunger Games to Neill Blomkamp’s Academy Award-nominated District 9. The Embassy has since gone from strength to strength. The ad caught the attention of thousands even in the pre-viral age – and in the process put creative studio The Embassy on the map as one of the premier up-and-coming visual effects studios in Vancouver – just a short two years after it was founded.
It’s likely that Citroen’s 2004 ‘Alive With Technology’ campaign will ring a bell.ĭirected by Oats Studios founder Neill Blomkamp, the short featured a Citroen that realistically remodelled itself into the form of a Transformers-like humanoid, before busting a move to Les Rythmes Digitales’ Jacques Your Body against a hazy sunset backdrop.
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