The VFX Factor: Getting the Perfect Integration of Elements with Eyecandy

EyeCandy is a creative factory specialising in tabletop, beauty, and food videography. Founded in 2018 by director Greg Ferro, EyeCandy has evolved into a global creative force working with clients such as Ferrari, P&G, Unilever, Pepsico, CocaCola, Nestlé, Lego, Heineken and McDonalds. With a passionate and collaborative approach, EyeCandy pushes the boundaries of video production and storytelling, while exploring the endless creative possibilities offered by modern production techniques.

LBB> What’s the biggest misconception people have about VFX?

EyeCandy> Many people, including professionals, don't know how VFX are produced in the studio, and therefore, when they watch spectacular special effects, they often believe these are made using CGI, which can be very frustrating at times, especially because it often takes many days of work in the studio, testing, and production, and the commitment of many people. VFX is a true craft in the classic sense of the word. 

LBB> Where did you learn your craft? 

EyeCandy> I was fortunate to start this job at one of the best tabletop studios in the world, the 360fx Studio in Milan, under the guidance of EP Antonella Scoliero and the special effects genius Andrea Bonomi. From the first day, I thought that the opportunity to admire things in slow motion would make me fall in love with this work, and with life in general, all over again. Because if life is better when viewed through a lens, it's magical when seen in slow motion.

LBB> Think about the very, very start of a project. What is your process for that? Do you have a similar starting point for all projects? 

EyeCandy> All my projects start with research; it's the foundation of all projects of this type. Researching among new productions, especially those not strictly related to tabletop, allows for the acquisition of new techniques and skills. After the research phase comes testing and experimentation. These days in the studio are more important than the shooting days, in my opinion.

LBB> VFX is a craft that relies on you really looking at nature - how light works, how gravity works, the mannerisms of a kind of creature, how crowds work, skeletons, explosions… whether it's animation or compositing or anything else… So how do you like to approach the research side of your job?

EyeCandy> Research does not have just one path. I spend hours studying new techniques, both real and CGI-based, particularly fascinated by the world of AI. There's not just one way to approach a project, usually, the right path involves a mix of multiple techniques. My goal is always to aim for a perfect integration of all elements. For example, I am convinced that the most successful commercials should have the tabletop part integrated into the live action. Commercials with the demo part separated from the live action belong to an old type of communication, which frankly, I do not like.

LBB> What was your first creative milestone in the industry – the project you worked on that you were super proud of?

EyeCandy> The first film I was truly proud of was Brewdog - Punk IPA. It was a small project, but one I had the opportunity to create from scratch, and one of the first where I could experiment as I wanted. I have a very punk approach to directing, both in live action and tabletop, and I wanted to prove that this was the right path to follow to create a personal style that really felt like my own. Usually, it's the smaller productions that I am most proud of, there's more creative freedom and experimenting with new solutions for filming while saving on costs excites me. The last project I shot, still not on-air, involved creating nine commercials of 30 seconds each. The budget didn't allow for the use of motion control, so I shot the entire film with a Phantom and Easyrig, creating ad hoc camera movements. In the end, everyone was happy, except my back! 

LBB> From a VFX perspective, which ads have you seen recently that you've been particularly fond of and why?

EyeCandy> Every year, the campaigns for KINDER Ice Cream by Ruben Latre are absolute benchmarks for the entire industry. Personally, I love campaigns where the effects are created on the live action set using cinematic techniques that are closer to live action than to tabletop. In this regard, the KFC worldwide campaigns are fantastic.