Tabletop studio CANTEEN, has signed the directing collective supersensory for commercials. This marks supersensory’s first U.S. representation.
Breaking new ground beyond traditional live-action tabletop production, supersensory is a multi-disciplinary team composed of taste-appeal and filmmaking experts–all turned digital–creating photo-real CGI spots.
Like live action workflow, the food stylists at supersensory will cook, bake, pour and otherwise prep the best version of the product at hand. The practically-styled product is then ingested using a proprietary 3D scanner. Once digitized, the team works with live action directors and cinematographers to light, animate, and design camera movements which can be executed in real-time with remote brand/agency supervision.
Erik Dettle, partner and director at L.A.-based CANTEEN, said, “We believe the tabletop landscape is changing and we’ve been committed to bridging the gaps between what has worked in the past, what works now, and future solutions. Combining the best of live action and CGI practices allows us to provide flexibility and complete creative control.”
Canteen founder and EP Elyse Sara noted, “We’re seeing more clients looking for efficient solutions that don’t sacrifice taste appeal; it’s imperative that we provide solutions that hit both asks, while allowing for limitless adaptability and sustainability. The addition of supersensory aligns with our vision for the future of tabletop.”
Headed by founder and CCO Linus Ewers and partner and food stylist Mathea van Kann, supersensory has a body of work which spans such clients as Kinder, Ferrero Rocher, Coca-Cola and Bombay Sapphire.
New York Film Fest Preview: “The Brutalist,” “Nickel Boys,” “April,” “All We Imagine as Light”
When you think of blockbusters, the first thing that comes to mind might not be a 215-minute postwar epic screening for the first time at Lincoln Center. But that was the scene last week when the New York Film Festival hosted a 70mm print of Brady Corbet's "The Brutalist." The festival hadn't then officially begun โ its 62nd edition opens Friday โ but the advance press screening drew long lines โ as some attendees noted, not unlike those at Ellis Island in the film โ and a packed Walter Reade Theatre. Word had gotten around: "The Brutalist" is something to see. Corbet's epic, starring Adrian Brody as a Jewish architect remaking his life in Pennsylvania, is the kind of colossal cinematic construction that doesn't come around every day. Shot in VistaVision and structured like movements in a symphony (with a 15-minute intermission to boot), "The Brutalist" is indeed something to behold. It's arthouse and blockbuster in one, and, maybe, a reminder of the movies' capacity for uncompromising grandeur โ and the awe that can inspire. It's been fashionable in recent years to wonder about the fate of the movies, but it can be hard to placate those concerns at the New York Film Festival. The festival prizes itself on gathering the best cinema from around the world. And this year, the movies are filled with bold forays of form and perspective that you can feel pushing film forward. This is also the time Oscar campaigns begin lurching into gear, with Q&As and cocktail parties. But, unlike last year when "Oppenheimer" and "Barbie" were entrenched as favorites, the best picture race is said to be wide open. In that vacuum, movies like "The Brutalist" and the NYFF opener, RaMell Ross' "Nickel Boys," not to mention Sean Baker's "Anora" and Jacques Audiard's... Read More