will.hyde /story+style creative direction + design production

[email protected] / willhyde.net I am a senior creative director with extensive experience in motion graphics, visual effects hello. and live action direction.

From strategic concept development to on-the-box digital production, I bring a hands-on, can-do, make-it-work-or- make-it-myself energy to the creative process. My perfect concoction is a great story with a healthy splash of style. strategy design brand animation concept story + style live action narrative visual effects creative direction

development supervision presentation management production mentorship /will.hyde *creative director CLICK TO DOWNLOAD CV IN PDF FORMAT

EDUCATION AWARDS FEATURES AFFILIATIONS * University of Virginia Cannes Silver Lion Motionographer, Stash My Story So Far BA Rhetoric Broadcast Emmy SHOOT, Emmy Magazine MoMA Permanent Collection Design for Motion by Austin Shaw ©2015

George Rice Matthaeus * Digital Pinnacle * Strange & *The Stranger & Sons Halverson Kitchen Studios *Süperfad Wonderful Founding Member Department Head Art Director, Founding Partner Design Director, Founding Partner Managing Partner, Designer, Art Director Digital Prepress Digital Designer Design Director, Group Manager Exec. Creative Director Director

The Stranger is a scath- George Rice & Sons was Matthaeus Halverson was Launched in 1995, Digital Pinnacle Studios was a Süperfad was founded Strange & Wonderful is a ingly sharp-witted weekly the Seattle area’s premier a consumer-driven ad Kitchen became a driving leading force in broadcast in 2001 and grew to four creative production studio newspaper that burst onto offset printing company. I agency known for its inno- force in the nascent field design, post-production locations in Seattle, New where story meets style. Seattle’s red-hot music was tasked with transition- vative and visually striking of motion graphics and ti- and visual effects. I was York, L.A. and London, Our brand-driven con- scene in 1991 and still con- ing its staff of lithograph- creative. I worked directly tle design. As a founding brought in to establish a with a staff of over 100 ceptual development and tinues to this day. I was the ic compositors and color with Paul Matthaeus and partner I worked to estab- motion graphics design designers, animators and curated visual expression initial design director and craftsmen to a digital pre- Linda Halverson to push lish creative and workflow group within the larger editors, and annual reve- bring stories to life. We am proud to say the mast- press workflow. In the pro- the boundaries of creativ- processes that disrupted context of a post house. nue in excess of $36M. I partner with agencies and head and logo still survive. cess I learned the physical ity in photography and the entire post-production Pinnacle’s stage and cam- Served as ECD across the brands to develop and parameters of ink on pa- established a fully digital industry. I Developed pro- era facilities opened up a company’s four offices produce creative content per and how to best lever- production pipeline. prietary animation tech- new frontier of creativity and guided the compa- across a wide spectrum of age digital technology to niques in After Effects 1.0 for a young team of mac ny in creating numerous media deployment, from achieve the highest quality and integration with Avid designers and animators. award-winning campaigns traditional commercial finished product. Media Composer to push for clients such as Sprint, production to the continu- the boundaries of creativi- Netflix, Visa and Sony. ally evolving landscape of ty in digital video. social media. * Founder, Partner /will.hyde *creative director *Concept Design

Most of my professional experi- ence has been in motion design for film and television, where I am driven by a passion for solutions that are both conceptually driven and visually engaging. The art of the styleframe is a primary disci- pline and where the stylistic voice for a brand story begins to take shape. Here are a few examples. @ SIBLING RIVALRY /will.hyde *creative director *Presentation Design

The best ideas are guided by story and brought to life in style. Communicating the great unknown to clients and stake- holders becomes a major part of the creative process and presentation design is key to generating enthusiasm around new ideas and concepts.

CLICK TO DOWNLOAD COMPLETE TREATMENTS /will.hyde *creative director *Brand & Campaign Stewardship

Sprint / Now Network / Goodby Silverstein & Partners Maintaining consistency in the deployment of an extended cam- paign is critical. In designing and directing over 30 commercials for Sprint’s Now Network, we became the stewards for the brand’s look and feel, as agency creative teams came and went throughout the run of the cam- paign. From brand anthem to tactical retail deployment, we maintained consistency of style, tone, typography and color. /will.hyde *creative director *Creative Direction Project Management & Team Mentorship

On a daily basis, I have been responsible for During my career, I have founded and man- the management of multiple creative pro- aged the growth of multiple companies. In duction teams, and supervised creative pro- the process, I have hired countless young duction from initial project ideation to client creatives and mentored them to do their presentation. As a business owner, I have greatest work. Many of these young stars overseen the budget development and prof- have moved on to start their own business- itability on projects ranging in scope from “a es, and if you look at a family tree of con- ham sandwich” to over $2 Million. temporary motion-design, I’m pretty close to the root. /will.hyde *creative director Writing *On the Box After Effects Presentation Production Photoshop Design Illustration Illustrator Prepress Previs InDesign Prototyping Cinema4D Lighting Shooting Premiere Grading Resolve Retouching A maker at heart, I am very much Compositing “on the box” when it comes to the tools Figma Animation of the craft. I design, animate, compos- Editing ite, edit, model and render using the Office Visual Effects complete range of Creative Suite 3D Modeling applications as well as 3D software and, Simulation more recently, UX/UI prototyping tools. Lighting And, curiously, I’m a master at Excel. Rendering /will.hyde *creative director

the work /will.hyde *the work

Directors Guild of America *Live Action 2009-present Direction

Live action direction evolved out of the design and As I gained experience as a director, I was asked to motion graphics work we were doing and was ini- approach concepts that depended less on stylistic tially just another piece of whatever design-driven or technical innovation and more on a narrative. This puzzle we were creating. has led to an intriguing niche writing and directing vision videos and other industrial projects that fore- My more significant foray into live action direction tell the promise of new technologies. came through the pioneering use of high-speed cinematography. In partnership with Vision Re- In the process, I have come to learn that telling search, the manufacturer of the Phantom camera, great stories requires a fundamental understand- I worked to bring the surreal impact of slow motion ing of both product and user. Only after a technical to the world of creative filmmaking. Of course, the mind-meld with a PhD engineer, and a warm hug subject matter for this work, as well as the technical with a wide-eyed child, can we weave a meaningful factors involved, tended to be more studio based: connection between the two. In doing so, my liquids, explosions, flowing fabric and other fast goal is always to coax inspiring, results-driven moving things that looked strange and wonderful in creative from the brightest minds and the most slow motion. talented hands. /will.hyde *production listening script editing researching casting direction *The Process brainstorming story writing pitching CONFLICT / RESOLUTION of Storytelling Narrative Development conceptual CHARACTER SCRIPT personal

STRATEGY CASTING

BRAND ACTING Concept the film Direction EDIT CAMERA

To the right is a diagram of the many MUSIC, SFX LIGHTING stages, pieces, parts and processes VISUAL EFFECTS LOCATION in producing a narrative-driven film. digital Production practical You can clearly see the Story+Style Design paradigm at work. I am experienced SET DESIGN WARDROBE at all stages of the production cycle, editing either directly on the box or as di- 2D+3D production style live-action rector, supervisor, or manager. color grading direction *live action: people + stories CLICK TO VIEW FILMS

Publix Microsoft Semaphor AT&T

CLICK TO VIEW FILMS

Human Jackson Hewitt Microsoft Ladurée

Skype Publix Chambong Microsoft *live action: effects + style CLICK TO VIEW FILMS

HP Sony Fueguia Glass Vodka

Coach Sprint Samsonite Amazon Sony

Carls Jr. Aventador Museum of Glass Reve Opulent /will.hyde *the work

The design and direction of motion graphics is the core capability that has *Motion Graphics driven my career, both as an artist and in entrepreneurship. You can see in the diagram below that STORY+STYLE anchor the decision matrix for any project, Design & Direction from stop-motion claymation to procedurally generated data visualization.

Character Brand Environment Audience Strategy Design Data Visualization Objective Typography Photoreal Talking Points story style 3D + Stylized Messaging Digital Data 2D Content time Execution Character Animation Cel Animation Conflict Narrative Momentum Analog Resolution Music Stop-Motion Sound Voice *motion graphics: 3D design + direction CLICK TO VIEW FILMS

Djarum Fox Sports Nike

Mercedes Benz UE Roll Halo *motion graphics: 2D design + animation CLICK TO VIEW FILMS

Cavit Concur Amazon Ignite

Sony Digital Surround Sound Microsoft Elttaes Theatres /will.hyde *the work *Post Production & VFX Supervision

Previs On Set 3D 2D Visual Effects have become a Production Strategy VFX Supervision Modeling Compositing standard component of film- R&D Testing Metadata Collection Texturing Tracking making but the execution of Storyboards Lighting Reference Lighting Keying high quality movie magic re- Animatic Marker Placement Camera Match Rotoscoping mains a technical process that 3D Previs Motion Control Simulation Grading can involve an extensive pipe- line of artists working in col- Animation laboration. I have experience in Rendering directing VFX teams across a wide range of project scales. /will.hyde *creative director *Sometimes I have no idea what I’m doing.

When we started Digital Kitchen in 1995, I had never animated a single frame. All I knew is that I wanted some of that which wasn’t there. Not knowing is an art form. It re- quires pushing the big red button, popping the balloon, mixing a lot of chemicals, and usually, a lighter.

In 2004, I became obsessed with high-speed cin- Recently I was fortunate enough to collaborate with Lately we have been turning projection mapping in- ematography, which was just starting to break out fine art photographer Carlo van de Roer on The Sat- side out, using monitors as both reflection sources of the engineering world and into broadcast use. ellite Project, a unique system of lighting that utilizes and content, mixing slow motion with real time, all Against all good judgment, I bought a Phantom an array of precisely synchronized strobe lights to, in camera. The results at tabletop scale have been camera before I ever used one. “How does it work?”, effectively, freeze time but allow the light to move. amazing, with liquid light reflections that crawl up my favorite cinematographer asked. My response: Working at frame rates in excess of 2,500 fps, the and around the subjects. Next up is to scale the idea “I have no idea.” At the time, nobody knew how to result is a fresh take on the art of slow motion cine- to room size, with an actual size car. light for high speed, or why a 5K HMI flickered, but matography. CLICK TO VIEW FILMS a 5K tungsten didn’t. Go figure... we did indeed. /will.hyde *creative director *How Do I Fit In? broad capability Creative Client Product Strategy Direction Marketing Sales Consumer Concept Development deep expertise Storytelling Bringing a depth of practical skill Presentation and a breadth of business experience, Production I combine a soup to nuts mastery of creative direction and production with Live Action a spirit of cross-collaboration among Motion Design marketing and product teams. The Animation result is a translation of engineering Visual Effects jargon, business needs, and brand strategy into a cohesive concept that Graphic Design connects with consumers. Print Production /will.hyde *creative director

Let’s chat! Where to [email protected] willhyde.net from here? (206) 617-4293 DOWNLOAD CV

I am interested in opportunities to collaborate with brilliant minds on projects that continue to technologically, conceptu- ally and stylistically push the boundaries of storytelling.