Raül Peix on the Rise of AI and Virtual Production

At BOL, Raül Peix plays a key leadership role in shaping the vision, style, and overall creative direction of all audio-visual projects.

Raül is also responsible for solving the technical challenges that arise throughout the creative process, ensuring that artistic ideas can be executed efficiently and effectively using the available tools and technologies.

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Name: Raül Peix

Location: Barcelona

Repped by/in: Creative Director at BOL Production House, Repped in Device / All In Pixel

Awards: Practices for XR Design - Sonar x Timoni West (Silver Laus)
Barraquer (Bronze Laus)
Spatial (Bronze Laus)
Hellowork Our Job (Collision Awards Gold)
Spatial (Collision Awards Gold)
Barraquer (Collision Awards Silver)
Turbo Express (Vimeo Staff Pick)
Overlay (Vimeo Staff Pick)
Europe in 8 Bits (Vimeo Staff Pick)
Backwards x Offf (Vimeo Staff Pick)

LBB> What are some upcoming projects that you're excited about? Tell us a bit about them.

Raül> Right now, we're starting work on a very interesting and ambitious project for an important national advertising campaign. I can't reveal too many details, but I can say that it will be done using stop motion animation, and we're very excited because we've never directed a project created entirely with this type of animation. I'm sure it's going to be a very beautiful and enriching process.

On a more personal level, I also have a couple of ideas I'm really excited about, which I'm currently developing to assess their future viability. One is for an innovative video game concept, and the other is for an abstract short film.

LBB> What excites you in the advertising industry right now, as a director? Are there any trends or changes that open new opportunities?

Raül> The rise of AI and virtual production excites me the most. It’s allowing us to blend the boundaries between what’s real and what’s animated. This means faster iterations and more creative freedom. The demand for short-form, high-impact content is also driving us to innovate in storytelling techniques.

LBB> What elements of a script set one apart from the other, and what sort of scripts get you excited to shoot them?

Raül> A script that offers a clear visual identity and space for imaginative interpretation always stands out. I’m drawn to scripts that incorporate surreal or abstract elements, allowing us to push the visual style beyond the conventional.

A strong emotional core is also key; it makes the animation more than just beautiful visuals, it gives it heart.

LBB> How do you approach creating a treatment for a spot?

Raül> I start by immersing myself in the script and the brand's essence, always with a good soundtrack in the background that fits the campaign's mood, and finding key visual metaphors that can translate the message.

From there, I develop a mood board and initial sketches and references to convey the tone and style, followed by a detailed breakdown of scenes and transitions in a Storyboard, and animation techniques that will bring the story to life.

LBB> If the script is for a brand that you're not familiar with/ don’t have a big affinity with, or a market you're new to, how important is it for you to do research and understand that strategic and contextual side of the ad? If it’s important to you, how do you do it?

Raül> It’s crucial to understand the brand's values and its market context. I start by diving into their previous campaigns, understanding their audience, and learning the cultural nuances that might influence the storytelling.

LBB> For you, what is the most important working relationship for a director to have with another person in making an ad? And why?

Raül> I think that the most important relationship is with the art director and all the other artists involved in the production. They help translate the vision into visuals that align with both the brand’s needs and our creative ambitions. A strong synergy with them ensures that the look and feel of the ad is cohesive and that we can push the boundaries of the visual style.

LBB> What type of work are you most passionate about – is there a particular genre or subject matter, or style you are most drawn to?

Raül> I’m passionate about projects that blend genres, like surreal animations with a touch of humour or drama. I love exploring unique visual styles that challenge conventional norms, especially when they're 3D projects, with an abstract, darker, or more experimental character, since it is something that connects more with my personal preferences and my background.

Anything that pushes the creative limits and engages the audience visually and emotionally is where I find my passion.

LBB> What misconception about you or your work do you most often encounter, and why is it wrong?

Raül> People often think that, as a director in the animation field, I only work with cartoonish or overly stylised visuals. The truth is, our work spans a wide range, from realistic 3D worlds to more abstract 2D aesthetics. Animation is a medium, not a genre, and it can be used to tell any type of story.

LBB> Have you ever worked with a cost consultant, and if so, how have your experiences been?

Raül> Yes, I've worked with cost consultants, and they can be invaluable in helping align our creative vision with budgetary realities. But many times, we also feel that all they want is to lower the budget, sacrificing some creative processes, and this gives the impression that sometimes these profiles do not fully understand the practices involved in the world of animation.

LBB> What’s the craziest problem you’ve come across in the course of a production – and how did you solve it?

Raül> On some occasions, the creativity or concept of the campaign can change right in the middle of the process, at times when important stages have already been approved, and going back means an increase in the budget, timeline, and having to make changes to the involved team. In these more critical cases that sometimes occur, it is essential to find creative solutions to try to avoid possible negative impacts on the production.

LBB> How do you strike the balance between being open/collaborative with the agency and brand client while also protecting the idea?

Raül> It’s about finding common ground, listening to their needs while articulating why certain creative choices are important. I try to focus on the core message of the campaign and show how the visual approach supports it. Being open to feedback but standing firm on key creative decisions ensures the final product feels authentic and purposeful.

LBB> What are your thoughts on opening up the production world to a more diverse pool of talent? Are you open to mentoring and apprenticeships on set?

Raül> I believe diversity enriches creativity. Bringing in new voices and perspectives only strengthens our work. I'm definitely open to mentoring, I see it as a way to give back and to learn from fresh talent.

LBB> Your work is now presented in so many different formats – to what extent do you keep each in mind while you're working (and, equally, to what degree is it possible to do so)?

Raül> With so many platforms to consider, we always adapt the visuals and pacing to suit the specific medium, whether it’s for a cinema screen or a vertical format on social media. However, I try to stay true to the core idea, ensuring that it translates well across formats without diluting its essence.

LBB> What’s your relationship with new technology, and if at all, how do you incorporate future-facing tech into your work?

Raül> I’m a big advocate for using technology to enhance the creative process and storytelling. We often integrate AI tools in some stages of our projects, and whenever I can, I am learning new things, and I would really like to delve deeper into the fields of motion capture, real-time 3D, and virtual production. It’s all about using these tools to amplify creativity rather than replacing it.

LBB> Which pieces of your work do you feel show what you do best, and why?

Raül> HelloWork – I'm really happy with the two campaigns we did for HelloWork, short movies with a touch of humour that were a lot of fun to create together with Laura Sirvent. I have a background in 3D and always feel very comfortable working with this technique. In this case, it was especially rewarding to achieve a more plastic and cute look, with animation that simulates the stop-motion technique.

ターボ 表現する - Turbo Express – I’m very fond of this film, as it started out as a personal project that organically grew within the studio, with our sister company All In Pixel. We managed to blend a cyberpunk and retro-futuristic aesthetic with a 16-bit pixel art technique, sprinkled with some humour and an unexpected ending.

Europe In 8 Bits – I have a special affection for this project, even though it’s been a few years (2013 omg). I still feel it represents me in many ways. Besides being the opening titles for a documentary made by a friend of mine, in which I also appear as an 8-bit musician, I was responsible for developing it entirely, from the direction to all the 3D execution. It was very successful and well-received, and it still moves me every time I watch it today.