Filmmaker and editor Miles Cable is joining Impossible Objects (IO) as a director for virtual production. Launched in 2021, IO is a new world-building lab that utilizes virtual production to tell branded and original stories. In tandem with its technical expertise, IO attracts and develops talent through hands-on mentorship that focuses on skill acquisition and excellence in craft.
A Chicago native and NYC resident, Cable honed his creative prowess as a teenager, directing and editing his own films and projects. Soon known for his unique ability to infuse films with an unexpected edge, he began editing commercials and music videos. Cable’s directing career progressed when he joined forces with Rhode Island native AJ to form a directing duo, Miles & AJ. Together, the duo has worked on buzzworthy music videos for artists like Billie Eilish, Doja Cat, and MGK as well as commercials for brands like Samsung, Xbox, Vans, and 1800 Tequila. Miles & AJ continue to be repped by SixTwentySix for commercials, branded content and music videos. Cable is additionally repped as an editor by Lockt Editorial.
Continuing to build upon his filmmaking talents, Cable now works as an Unreal Engine artist, which allows him to create digital worlds and products faster than ever before. His most recent project is a demo film for Alfa Romeo, which was made in collaboration with IO, Stept Studios, and Lockt. After shaping the creative with Stept Studios, Cable tapped into the virtual production knowledge and tools of Impossible Objects to build the entire film in Unreal Engine, showcasing the potential and capabilities of virtual production. Cable led the project, directing and creating all CGI using the Unreal Engine platform.
Joe Sill, director and founder of IO, remarked, “When Miles came to us with his Alfa Romeo film, we were excited to share the knowledge, tools and pipelines that we’ve built at IO. This project is a representation of why we feel so strongly about representing directors within the virtual production space. He’s part of the next generation of filmmakers who combines the best of both worlds, and refuses to be bound by the limitations of the past, and we’re looking forward to all the mind-blowing content we’re going to create together with him.”
“Miles has so much potential with using these tools–it only felt natural to bring him on and represent him as a director,” added Jerad Anderson, IO founder. “His live-action sensibilities and ability to communicate inside of a virtual production workflow makes him an extremely capable creative mind. This marks the advance of a significant objective at IO–to mentor new talent and provide them the tools to build their skill set in the virtual production arena.”
On joining IO, Cable said, “I went to IO with the Alfa Romeo film because they’re leaders in the virtual production space. It was such an amazing creative experience that I jumped at the chance to be part of their newly formed virtual production roster.”
Review: Director Nora Fingscheidt’s “The Outrun”
At some point during "The Outrun," it occurred to me that watching Saoirse Ronan act is a bit like looking into a magnifying glass: Everything somehow feels a bit clearer, sharper, more precise.
This singular actor gives one of her finest performances in a two-hour study of addiction that is poignant, sometimes beautiful but always painful to watch โ and would likely be too draining if not for the luminous presence at its core. Would it even work โ at all โ if Ronan, who also makes her producing debut here, weren't onscreen virtually every second?
Luckily, we don't need to imagine that. Ronan, who plays a 29-year-old biology student named Rona (the name comes from a tiny island off Scotland) serves as both star and narrator, speaking the words โ sometimes poetic โ of the addiction memoir by Amy Liptrot. The script, adapted by Liptrot and director Nora Fingscheidt, makes frequent use of fantasy and whimsy, even veering into animation. Some may find these deviations a distraction from the plot, but they are frequently mesmerizing.
Besides, plot is a loosely defined thing here. We go back and forth in time so frequently that sometimes only the changing color of Rona's hair indicates where we are on the timeline. It takes a while to get used to this, but the uncertainty starts to make sense. We are, in a way, inside Rona's mind, experiencing the fits and starts of her journey. And recovery is hardly a linear process.
There's a fine supporting cast, but the true second star is nature itself. The film is based mainly in the Orkney Islands off Scotland, a windswept landscape that can be both punishing and restorative. It can also be stunning, especially the sea. And the sea is where we start, learning that Orkney lore holds that when... Read More