Most product films explain the product. I try to make people feel something about it. My way in is simple: find the character in the object, then direct it like an actor.
I'm in Saint Petersburg now, relocating to Europe in 2027 — and working with studios remotely until then.
Before anyone opens a 3D scene, I decide who this object is. A night cream is slow and warm. A jet engine is heat and pressure. That one decision drives the light, the camera and the edit.
“Make it premium” isn't a problem yet. With Jetstream the real problem was that engineering visuals all look like diagrams — so the job wasn't accuracy, it was emotion.
I test several visual routes early, while it's still cheap. Once one wins, I hold the whole team to it — no drifting halfway through production.
I started as a 3D artist and I still produce my own films. So what I ask for can actually be built — on time and within budget.
Commissioned work and self-initiated films, marked as such.
Carlsberg Uzbekistan, Tahakom (Saudi Arabia), Mercedes-Benz, Polestar, Lay's, Heinz, Borjomi, Condé Nast (Vogue, GQ, AD, Tatler, Glamour) — and Sber, VTB, Mir Pay, T-Bank, Samokat, Yandex 360.
Best of Stash 2025 — Passion Projects · 5 features in Behance curated galleries: 3D, After Effects, Motion · AD Awards 2019
I started in 2015 as a motion designer in Saint Petersburg, making product videos for a software company. Then Moscow: motion design for Vogue, GQ, AD, Tatler and Glamour at Condé Nast, and two years as an art director at a production agency.
Since 2021 I've worked independently under the name theoutpoint, assembling the right crew for each film. That's how I art-directed work for Carlsberg and Tahakom, and led a 15-person team on a fulldome show.
Next chapter: Europe. I'm relocating in 2027 to wherever the right studio is, on a skilled-worker permit. For the studio that's an ordinary employment contract — I take care of the paperwork.
Tell me what you're making and when. I'll reply within a day with a first thought on how I'd approach it.
