Commissioned by Kamp Grizzly, Revenant partnered with Oakley to revive their iconic 1992 Max Fearlight campaign through a pair of CG short films. As layout and character animation lead, my focus was on shaping how Max and Maxine’s stories unfolded visually and emotionally across two very different environments. One film follows Max inside his digital bunker, while the other tracks Maxine across a vast, dust-swept wasteland. A core challenge for me was finding a way to keep their narratives cohesive even though they never share the same physical space.

In layout, I structured both sequences around a shared visual rhythm, using wide establishing shots, then shifting into tighter close-ups as they each realise that something catastrophic is approaching. Both films culminate in mirrored orbiting camera moves that reveal the scale of the danger, creating a sense of connection between their experiences despite the distance between them.

Once layout was locked, I moved into character animation. Maxine needed youthful curiosity and defiance in her movement, while Max carried tension and helplessness as he watched events unfold from afar. Those contrasting performances helped reinforce the emotional link between the two characters, and having established the layout myself meant every gesture, beat and camera transition served that parallel structure.

Working with a major global brand on a storytelling-forward CG campaign like this was incredibly rewarding. Oakley is known for an unconventional approach to marketing, and my goal was to ensure the animation and visual language supported that ethos while evolving the world of Max Fearlight for a new era.