Sykosan

They were like, how are we going to do this? So they had a budget. They split it out. And they went for this strategy that said, well, we're going to say we want different styles. And we're going to ask Studio to pitch for it. But because of the limited amount of time, it was a matter of she received the pitches. And she was like, OK, I'm going to pick that one, that one, that one, that one.

And you just do it. So I was contacted by this Partizan, which was an animation studio in contact with Katy Perry. And they asked me if I wanted to pitch. And I said, yeah, that'd be interesting. You got one week. I was like, no time.

And you just do it. So I was contacted by this Partizan, which was an animation studio in contact with Katy Perry. And they asked me if I wanted to pitch. And I said, yeah, that'd be interesting. You got one week. I was like, no time.

And you just do it. So I was contacted by this Partizan, which was an animation studio in contact with Katy Perry. And they asked me if I wanted to pitch. And I said, yeah, that'd be interesting. You got one week. I was like, no time.

They gave me five pieces of music. And I said, you can pitch for all of them. I said, OK, I'll pitch for all of them. So I made five pitches in a week. And very short, just one little page, one little drawing, a concept, essentially. And I had a favorite one, and it was a cry about it later. I was like, I'd be nice to get that one. And that's the one I got.

They gave me five pieces of music. And I said, you can pitch for all of them. I said, OK, I'll pitch for all of them. So I made five pitches in a week. And very short, just one little page, one little drawing, a concept, essentially. And I had a favorite one, and it was a cry about it later. I was like, I'd be nice to get that one. And that's the one I got.

They gave me five pieces of music. And I said, you can pitch for all of them. I said, OK, I'll pitch for all of them. So I made five pitches in a week. And very short, just one little page, one little drawing, a concept, essentially. And I had a favorite one, and it was a cry about it later. I was like, I'd be nice to get that one. And that's the one I got.

And then they asked me, how many can you make? I was like, just one is enough. There's barely enough time. So I was like, no, no, I can only do one. And the funny thing is that I was working on another music video already for another artist, a British artist. And I kind of had to jump out from that project into the Katy Perry one because I was like, I really want to do this.

And then they asked me, how many can you make? I was like, just one is enough. There's barely enough time. So I was like, no, no, I can only do one. And the funny thing is that I was working on another music video already for another artist, a British artist. And I kind of had to jump out from that project into the Katy Perry one because I was like, I really want to do this.

And then they asked me, how many can you make? I was like, just one is enough. There's barely enough time. So I was like, no, no, I can only do one. And the funny thing is that I was working on another music video already for another artist, a British artist. And I kind of had to jump out from that project into the Katy Perry one because I was like, I really want to do this.

And I was going to direct it. I was going to do all the designs. And it was my concept. I came up with the story. And Katy Perry was very easygoing, honestly. It's been the easiest, one of the easiest projects I've had to work on. And I think she was aware of the lack of time because there was no room for back and forth. But she did work. Ask for a few things to be changed. And we did it.

And I was going to direct it. I was going to do all the designs. And it was my concept. I came up with the story. And Katy Perry was very easygoing, honestly. It's been the easiest, one of the easiest projects I've had to work on. And I think she was aware of the lack of time because there was no room for back and forth. But she did work. Ask for a few things to be changed. And we did it.

And I was going to direct it. I was going to do all the designs. And it was my concept. I came up with the story. And Katy Perry was very easygoing, honestly. It's been the easiest, one of the easiest projects I've had to work on. And I think she was aware of the lack of time because there was no room for back and forth. But she did work. Ask for a few things to be changed. And we did it.

And every time I suggested something new, she was like, yeah, that's fine. And so it was pretty easy. So yeah, that was very exciting. And she managed to release all these music videos And on the day that she gave birth, she released the album. She gave birth. That's a big thing. And she released my video. That was cool. So it was mine that came out on that day. That's really neat.

And every time I suggested something new, she was like, yeah, that's fine. And so it was pretty easy. So yeah, that was very exciting. And she managed to release all these music videos And on the day that she gave birth, she released the album. She gave birth. That's a big thing. And she released my video. That was cool. So it was mine that came out on that day. That's really neat.

And every time I suggested something new, she was like, yeah, that's fine. And so it was pretty easy. So yeah, that was very exciting. And she managed to release all these music videos And on the day that she gave birth, she released the album. She gave birth. That's a big thing. And she released my video. That was cool. So it was mine that came out on that day. That's really neat.

I'm okay as long as what you're looking for is some realism. I think that's the objective. By recording reality, you get that extra realism. It's a similar thing to Prince of Persia. You get that realism of motion. It's the same thing because you're tracing real footage. So I don't mind that. I think this is one direction that you can take. And the thing is that you have to explore it in a way –

I'm okay as long as what you're looking for is some realism. I think that's the objective. By recording reality, you get that extra realism. It's a similar thing to Prince of Persia. You get that realism of motion. It's the same thing because you're tracing real footage. So I don't mind that. I think this is one direction that you can take. And the thing is that you have to explore it in a way –

I'm okay as long as what you're looking for is some realism. I think that's the objective. By recording reality, you get that extra realism. It's a similar thing to Prince of Persia. You get that realism of motion. It's the same thing because you're tracing real footage. So I don't mind that. I think this is one direction that you can take. And the thing is that you have to explore it in a way –

You're all the way to the end. See how realistic you can get. And once you get there, then you pull back. You come back, and you'll be like, oh, yeah, that was interesting. But how about we go back to using animators to do this? Because animators have a different way to stylize motion. Actually, it's not just about stylizing the look of things or the colors. But there's a way to move.