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On the right, check out a BMW spot we just finished, shot on a Phantom HD camera at 750 fps! Inferno and CGI elements complement this simple yet elegant spot. Directed by Rebecca Baehler.

On another note, I just directed a four-spot series for Brighthouse. We are in post-production at the moment, and as soon as we start finishing them, I'll show them to you! In the meantime, check one of my favorite BH spots we did in the past, "Dishwasher".

On the right, check out a BMW spot we just finished, shot on a Phantom HD camera at 750 fps! Inferno and CGI elements complement this simple yet elegant spot. Directed by Rebecca Baehler.

On another note, I just directed a four-spot series for Brighthouse. We are in post-production at the moment, and as soon as we start finishing them, I'll show them to you! In the meantime, check one of my favorite BH spots we did in the past, "Dishwasher".

On the right, check out a BMW spot we just finished, shot on a Phantom HD camera at 750 fps! Inferno and CGI elements complement this simple yet elegant spot. Directed by Rebecca Baehler.

On another note, I just directed a four-spot series for Brighthouse. We are in post-production at the moment, and as soon as we start finishing them, I'll show them to you! In the meantime, check one of my favorite BH spots we did in the past, "Dishwasher".

On the right, check out a BMW spot we just finished, shot on a Phantom HD camera at 750 fps! Inferno and CGI elements complement this simple yet elegant spot. Directed by Rebecca Baehler.

On another note, I just directed a four-spot series for Brighthouse. We are in post-production at the moment, and as soon as we start finishing them, I'll show them to you! In the meantime, check one of my favorite BH spots we did in the past, "Dishwasher".

On the right, check out a BMW spot we just finished, shot on a Phantom HD camera at 750 fps! Inferno and CGI elements complement this simple yet elegant spot. Directed by Rebecca Baehler.

On another note, I just directed a four-spot series for Brighthouse. We are in post-production at the moment, and as soon as we start finishing them, I'll show them to you! In the meantime, check one of my favorite BH spots we did in the past, "Dishwasher".

On the right, check out a BMW spot we just finished, shot on a Phantom HD camera at 750 fps! Inferno and CGI elements complement this simple yet elegant spot. Directed by Rebecca Baehler.

On another note, I just directed a four-spot series for Brighthouse. We are in post-production at the moment, and as soon as we start finishing them, I'll show them to you! In the meantime, check one of my favorite BH spots we did in the past, "Dishwasher".

Audi "Beauty In Engineering"
Sprint "Firsts" :60
Latest Reel
Here are links to my latest reel, plus two recent spots. For more spots and movie clips, check the WORK link above.
 

Welcome to aladinoDEBERT.com, where you'll find my latest work, news, ways to contact me, etc.
I'm currently signed as a Director with Mothership and also serve as Creative Director for Digital Domain in Venice, California, where I'm responsible for the creative direction of projects and supervision of a team of 2D and 3D artists in addition to freelancers.
I'm in charge of concept development, treatment and methodology writing, bidding, set supervision as well as on-the-box work, where I specialize in color & lighting and compositing.

A bit of history.

I was born in Buenos Aires, Argentina, where I attended the technical high school Otto Krause, founded in 1897 and the oldest technological school in that country. I received a degree in Construction Engineering Technology, not too different from a Bachelor of Engineering Technology program in the United States. This degree allows recipients to design and legally build houses and other structures up to three stories high. Since I was a kid I wanted to study Architecture, so after high school I entered the School of Architecture at the Buenos Aires University.

After my move to New York in 1991, the idea was to continue my studies in Architecture, but I steadily moved towards visual effects instead. I've always been a fan of Sci-Fi and I guess eventually it got to me. After receiving a Computer Graphics Degree from Pratt, I started my visual effects career as an animator and compositor for Manhattan 's Evolution Logic Studios in 1993 and later with Balsmeyer & Everett. 

Looking for new pastures and wanting to expand my career into feature film work, my wife Christi and I moved to Los Angeles in 1997, where I joined Metrolight Studios as a Senior Animator. There I worked on a variety of films including Kull The Conqueror , Universal's Poseidon's Fury and Dragonheart 2 among others.

In late 1999 I headed to Visionart (later Digital.Art.Media) where I served as CG & Animation Supervisor on feature films such as Dungeons & Dragons , Spy Kids and Dr. Dolittle 1 & 2.

In late 2001 I moved once again, this time to Digital Domain (more on my return to DD below) to serve as a Senior Digital Artist. My credits there include VFX for The Time Machine, Star Trek:Nemesis and Adaptation.

From DD, my move to Radium came somewhat unexpectedly. In August of 2002, the studio was looking for someone to build the CG Dept at the Los Angeles office from the ground up, and even though I was not looking for another move, the challenge proved irresistible. I started as the Head of CG for Los Angeles , eventually running the Dept for the entire company, and in 2005 I became a Creative Director. My directing career, something I see as the natural progression of what I do, started in 2007.

In April 2010 I returned to Digital Domain/Mothership, this time signing as a Director and wearing the hat of Creative Director for our Commercial division.

The list of commercial clients I've worked with in the last few years is quite long, and includes Target, Sprint, Nissan, Bridgestone, Honda, Renault, Havoline, Dolby, Tropicana, McDonald's and Kyocera among others.

Awards

2010: My Audi spot ("Beauty in Engineering") has been featured in Motionographer, Stash Magazine #67 and was a Top Ten Finalist on AICP. Bronze Telly on Animation for PODS "Moving".

2009: Gold and Silver Addy Awards, Charlie Award and CTAM Mark Award for Brighthouse "Your Move". Bronze Telly on Animation for Pepsi "Throwback".

2008: "Best Post Production" on Ads of the World Newsletter - September 2008 for BMW "Impact".

2007: Silver Telly on Animation for Havoline “Shield Inside” (Highest honor). Bronze Telly on Animation for Target “Product People”.

2006: National Addy Award for the Target “Product People” campaign and three Regional (Bay Area) Addy Awards for Target “Product People” and Dolby “Redux”.

2004: VES Award for Best Visual Effects on a Music Video for Missy Elliott's “Pass The Dutch”.

2003: First Boards Award for Animation Supervision.

On a more personal note, I've been with my lovely wife Christi for 16 years and we have two wonderful boys, Milan and Theo. We live in the Silverlake area of Los Angeles.

I hope you enjoy my site, and feel free to drop me a line if you have any questions.

Peace.

 

 

The :60 version of Sprint "Firsts" (aka Domino) has just aired and you can see it below. I was the Creative Director of a team of about 25 artists working feverishly for a month. You can see the :30 as well as Sprint "Features", the third of the series, on my WORK page.

Below as well is Audi's "Beauty in Engineering", a 100% CG spec spot I designed and directed. It's been featured on Motionographer, Stash Magazine #67, and many other publications.