MotorStorm TV & Cinema Spots


MotorStorm: Pacific Rift – US TV/Cinema Ad (2008)




Agency: DEUTSCH Los Angeles
Client: Sony Computer Entertainment America
Music: Wonderlust King, Gogol Bordello
Roles: Island creative direction, DEM height data/matte painting

The CG island was built from a high res, top down painting was delivered by ArkVFX as part of my work on the MSPR announcement teaser and a height map built from several chunks of DEM data borrowed from the best bits of various Hawaiian islands. I also supplied b-roll footage for the end sequence but for once not the edit itself.

It was filmed over farmland, I wouldn’t have minded seeing the damage after the very real vehicles hit the deck. WIP Music was Hotel Yorba by The White Stripes but this was was changed to Wonderlust King by Gogol Bordello in the final version.


MotorStorm/PlayStation 3 Launch TV Ad





Agency: TBWA\Chiat/Day
Client: Sony Computer Entertainment Europe
Role: Original concept

I developed a bunch of ideas for TV adverts during development of the original MotorStorm title and after delivery, didn’t think too much more about them. Over a year later, at the launch of the PS3, I saw the TV spots and eventually remembered my earlier work. One of several ideas I’d produced for our brand book had been picked up by New York agency TBWA\Chiat\Day and the ‘pristine white room’ idea extended as the basis of ads for both the console and for several other games for the duration of the PS3 launch. I  also used the same ‘PS3-ifying’ of a clean environment for the inlay card to MotorStorm.



Sony make.believe (2009)




Client: Sony
Agency: Animal Logic
Areas: Game capture and agency liaison

This ad was part of a global push for Sony’s new make.believe brand and showcased elements from the company’s interests in film, music and game, the latter being represented by MotorStorm: Pacific Rift.

Working to an animatic supplied by Animal Logic, I matched camera angles to both the action in the pre-vis and the necessary objects in the track that the actor needed to interact with, all alongside a mass of utterly unpredictable AI drivers. Once I’d got a bunch of options together for the full sequence, they were delivered to AL who camera matched and shot the live action against green-screen and comped the results with the game footage.