Once referred to as the “Pink Sheep” of The Orphanage, Dav has always enjoyed the intersection story-driven design, direction and artist supervision.
Equally comfortable writing a creative treatment, directing a commercial, designing a logo, editing a reel, comping a shot, troubleshooting technical methodologies or supervising a team of artists, Dav has applied his plastic approach to creative problem solving to features, commercials, short films, workplace cultural events, PR, marketing, and cooking lunch.
When the first version of WIRED for the iPad came out, I was asked to animate Carl DeTorres' gorgeous graphic design. I finally had an excuse to call up my favorite sound design company, Expansion Team, and they accepted!
We had a blast designing and animated it. It was a a thrill to watch a magazine cover illustration move and sing for the very first time!
This spot was originally intended to be visual effects laden, featuring photoreal shoes bending and kicking and such.
In the end, all CG shoes were removed, and design/animation filled the holes. It was a bit of a surprise, but a very nice surprise.
We were originally asked to do just a few small elements for the film. Once we got going, Gary Ross wanted a fresh take on more and more items.
Not all made it into the film, but it was a lot of fun designing for a future totalitarian state. It was also nice to dig into good old fashioned branding and identity design.
Robert Rodriquez is one of the best directors to work for. That's because he’s all about telling a great story and doesn’t get hung up on pesky, expensive details, therefore maintaining creative control over very creative films.
Watching the ridiculous looking green screen plates transform into a film noir fantasy was truly inspiring.
I was in charge of creating the film damage for this film. Robert Rodriguez wanted the film to feel like it had been cobbled together from pieces found in the basements of derelict film houses, damaged by years of neglect, leaking roofs, kids with razor blades, etc. Moreover, he wanted the damage to be a bone-fide character in the film.
We spent months studying film damage: how it gets damaged, why, and what it looks like. Then we built a procedural machine which we used to dial the film damage with sliders -- much like sound design -- across thousands of shots. Since the film damage spanned the entire film, it was also perhaps the longest VFX shot ever!
Designing titles for Nicole Holofcener is a tricky affair. If she had her way, they'd be white on black. Period.
So I rode the line as carefully as I could, adding just enough color and design while at the same time keeping it all about the actors.
Making a football bloom like a leather flower, and making ink squirm its way across paper to form logos...
That made for a fun assignment for this sports television commercial.
TRIPPIN’ was my excuse to get off the box, roll up my sleeves and make a title sequence the old fashioned way... frame by frame. *It was also my opportunity to meet Cameron Diaz!
The spot was almost entirely done in-camera, or without visual effects of any kind. It felt sooooo satisfying to make something with my own two hands after being all CG for so long!
This was an example of an incredibly frustrating assignment turned awesome creative blank slate. We were asked to do a test for the film The Number 23. We had precious little direction. We were basically told it should be “kinda 2D, kinda 3D, and different.”
I was asked by my boss to create a single shot for the test, but I insisted on creating a very, very, short film. Sure, I had to do it after-hours, but it was the most fun after-hours I perhaps had ever had.
Another Carl DeTorres and Expansion Team collaboration.
Always good fun.