CGI & AI
Viral Projects
Creative Art Direction For Vertex.CGI
450M+
VIEWS ON SOCIAL NETWORKS
Creative art director across CGI, AI, interactive and new media. I pick the right tools for each brand's goal and turn it into the right result — viral, immersive or live.
CGI & AI
Viral Projects
Creative Art Direction For Vertex.CGI
450M+
VIEWS ON SOCIAL NETWORKS
SPECIAL PROJECT
Online Game
Presentation
EXPERIENTIAL
Multisensory
Experience
BIG SCREENS
Mapping
Event Content
SIDE PROJECT
10000REFS.ME







RANDOM PROJECT
Nushi
Creepy Robotic Cat for Events
CLIENTS

MORE ABOUT
CV
SOCIALS
Creative art director across CGI, AI, interactive and new media. I pick the right tools for each brand's goal and turn it into the right result — viral, immersive or live.
CGI & AI | SOCIAL VIDEOS
Viral Projects
Creative Art Direction For Vertex.CGI
450M+
VIEWS ON SOCIAL NETWORKS
SPECIAL PROJECT
Online Game
Presentation
EXPERIENTIAL
Multisensory
Experience
TVC | OLV
VFX Supervision
BIG SCREENS
Mapping
Event Content
SIDE PROJECT
10000REFS.ME







RANDOM PROJECT
Nushi
Creepy Robotic Cat for Events
CLIENTS

MORE ABOUT
CV
SOCIALS
SIDE PROJECT
The idea and the project belong to Kostya Kot — an attempt to apply the “10,000 hours” idea to references: study 10,000 references and you train your eye and raise your visual taste. I joined to help bring it to life in a more technological, modern way — using today's tools for fast delivery.
My part is two big pieces:
Infinity Reference Player — an endless player you can leave running in the background.
Tagging & Search System — full recognition, tagging and search across the library.
Check this out ↗ 10000REFS.ME TRAVEL CLUB · SINCE 2014
The project I grew up in — as an organizer, as someone who learned to take real responsibility, and, most of all, as one of the friends who opened up the world for thousands of people.
Since 2014 we've run more than 50 trips, crossing countries from China to Portugal. No agency, no tour scripts — just a handful of people who believed the best way to see the world is together, and kept booking the next ticket.
Different cities, same feeling — the road is always better with your people.
OPEN TO TALK
I'd love to get in touch with you—whether you have a specific project in mind or just want to meet and chat about the industry. Choose one of the contact options below or leave a short message, and I'll get back to you within a day.
CGI & AI · SOCIAL VIDEOS
Vertex — Creative Attention Company
OVERVIEW
Creative Lead at Vertex — the Dubai studio that turns brand budgets into organic attention. For two and a half years I owned the idea end-to-end: pitching to global brands, then directing shoots, CGI and sound to the final frame. The work I led earned hundreds of millions of organic views — never paid for.
Most of this work lives under NDA — the cost of building for brands at this level. Here’s what I can show.
THE COMPANY
“Vertex is the only team in the world that sustainably turns brand budgets into millions of organic views — four years, 1,000+ projects and 20B+ organic views for Nike, F1, NBA, Qatar Airways, Netflix, Hugo Boss and 150+ global brands.
Champions of short-form content on Instagram: our projects average 5× more views than the category median, with zero paid ads. The 2030 goal — to become the #1 creative partner for global brands across Sport & Entertainment, Automotive, Fashion & Luxury and Beauty.”
— Kirill Gavrilov, Founder & CEO, Vertex
Visit vertexcgi.com ↗
MY ROLE
The project I led generated over 450 million organic views — and each individual video garnered at least three times the median number of views on the channel.
450M+ ORGANIC VIEWS · AWARD-WINNING WORK · ZERO PAID ADS
GROWTH
I joined the company as an art director and, over time, became the creative lead of a three-person team, creating viral short videos alongside some of the best professionals in the field from around the world.
If you want work that earns attention instead of buying it — this is the best team in the world to make it with.
REAL-TIME ARG · EXPERIENTIAL MARKETING
OVERVIEW
A real-time interactive movie for Bandai Namco. Thirty journalists and bloggers stepped inside The Dark Pictures’ Little Hope over a live video call — and their choices steered real actors, on real sets, toward one of ten endings.
MY ROLE
THE PITCH
Bandai Namco asked us to give bloggers and journalists the feeling of their new title — its atmosphere and its core mechanic. An imitation wasn’t enough. So instead of faking the game, we built a real one: a live experience where players manipulate people in physical locations and decide their fate.
STORY
The Dark Pictures live on one theme — every choice has a cost. Our spin-off retold the Witch Trials of Little Hope: a town where souls don’t simply die but linger as vengeful demons. We gave players diegetic roles — journalists whose colleagues, Andrew and Johnny, slip into the game during a “presentation gone wrong.” Their ancestors once condemned the innkeeper Aina as a witch and got her killed — so the moment they enter, she rises for revenge.
THE MECHANIC
No controllers, no buttons. Streamers and influencers join a Zoom room where a live host runs the show. At each turning point the system itself picks one player and puts a choice to them — out loud. Whatever they say, the story obeys, live, and bends toward its ending.
SEE IT IN MOTION
CINEMATIC FLASHBACKS
We shot a set of short cinematic films — historically-costumed scenes from Little Hope’s past — and wove them into the live story as flashbacks. At key moments the feed cut to a pre-shot film, so a present-day choice was answered by a glimpse of the sin that caused it. Same crew, same camera language and colour grade as the live show, they were impossible to tell apart from the real-time footage.
AESTHETICS
We scouted an old house, dressed it with props, and shot it like found footage — the mockumentary language of Blair Witch and Rec, with an action-cam POV, letterboxes and a heavy colour grade. Historically-correct costumes and a practical-SFX witch, sculpted and applied by hand, did the rest.
HOW IT WORKED
Every frame the players saw was mixed live — real sets, real actors, game VFX and UI, all composited on the fly.
CRAFT & RECOGNITION
A team of ten — set designers, sculptors, actors, a VFX crew and a legal team — pulled it together in three months. Little Hope took 1st prize for Best Online Client Activation at bema! 2021, plus a personal thank-you letter from Bandai Namco.
From a single Zoom call, a whole haunted town. One live hour, every choice spoken out loud, no two nights the same — until players stopped being able to tell the game from the real thing.
REAL-TIME · 30 PLAYERS · 10 ENDINGS · 1.1M REACHED
RESPECT
Of course a whole team stood behind this project. But my partner in crime — the one I spent countless sleepless nights with, building this game until it finally came alive — is Vova Ivanov ↗
REAL-TIME DEEPFAKE INSTALLATIONS
Two legends, alive again — one paints your portrait, the other takes a selfie with you.
AI EXPERIENCE JOURNEY · HONG KONG MTROVERVIEW
Two interactive installations built with the Teleport team. Leonardo da Vinci paints visitors a portrait in his own technique; Albert Einstein takes a live selfie with them. Motion capture, talented actors and deepfake bring the legends to life — my job was to make the live camera image slot seamlessly into their pre-shot worlds.
MY ROLE
THE EXPERIENCE
HOW IT WORKS
The whole illusion is one pipeline: pre-shot footage that reacts like a live scene, and a live camera that drops into pre-shot footage — with no visible seam between the two.
ON SITE
Both booths ran side by side in the middle of the MTR flow — Leonardo painting on one screen, Einstein handing out selfies on the other, commuters queuing for both.
SEE IT IN MOTION
A Renaissance studio and a physicist’s lab, standing in a Hong Kong metro station — and inside the frame, you. Pre-shot film and live camera, stitched so tightly nobody spots the seam.
REAL-TIME · DEEPFAKE · MOTION CAPTURE · AI VOICE
RESPECT
Built with the Teleport team — people who rehearse the future for a living. See more of their work at weteleport.com ↗
VERTICAL SERIES · ART DIRECTION
The first vertical show about football — matchday grit, prime-time sin.
CRISP ORIGINAL · PLATFORM EXCLUSIVEOVERVIEW
Sin Club is the story of a Portuguese football club — its games, its people and everything happening around the pitch — made exclusively for Crisp, a platform where series run vertical. I art-directed the visual layer: the original poster campaign and every piece of graphics inside the show.
MY ROLE
THE POSTERS
No stills with a logo slapped on. Each poster was composed as its own artwork — cast, kit and mood arranged for the campaign, finished for both the platform and print.
The campaign hangs on one image system: football pulled into the world of temptation. A ball dangling from strings like a puppet, devil horns drawn in pitch chalk — and poster scenes shot like film stills, not promo photos.
ON SCREEN
The series as viewers actually see it — full-screen, vertical, no letterbox. These are the frames my graphics, titles and club branding live in.
THE CAMPAIGN
Every artwork was composed for the phone first — but built to survive any size. The same key art that opens an episode on a 6-inch screen holds a night façade without losing a single detail.
IN THE WILD
The campaign left the app. Sin Club key art ran on the big screens of a real stadium in Porto — printed-large fiction advertising itself inside real football, right next to the game the series is about.
A football club that never existed — posters, graphics and matchday promo, all drawn for a phone screen. Made for Crisp. Made to feel real.
VERTICAL SERIES · CRISP EXCLUSIVE · PORTUGAL · KEY ART & GRAPHICS
RESPECT
A series is always a crowd. Respect to the whole Sin Club production — the directors, the cast, and the Crisp team betting on vertical stories.
INTERACTIVE MUSEUM EXHIBIT
An old Buick tells its own story — first person, in its own voice.
AUTONOMOUS EXHIBIT · RUNS WITHOUT AN OPERATOROVERVIEW
A permanent interactive exhibit built around an old Buick: a driver’s stand with a real wheel, a throttle pedal, gauges with screens inside — and headphones where the car tells you its life story in first person. It ran in the museum on its own, day after day, no staff required.
MY ROLE
THE IDEA
It started at the pitch. The museum had an old Buick to exhibit — we offered to give it a voice instead of a plaque. Not an audio guide talking about the car: the car itself, remembering its life in first person, to one visitor at a time.
So we built it a driver’s seat. Wheel, throttle, gauges, headphones — everything you need to sit down and “drive” through its history.
THE STAND
The stand looks like a slice of the driver’s seat — and every part of it is an input or an output of the story.
TWO SCENARIOS
THE SOUND
The story lives in the ears and in the hands: a first-person voice recorded with an actor, the real engine captured from the actual car, and tactile bass that puts the vibration into the stand itself.
Resolume Arena · Ableton Live · Pro Tools · OSC
PRINCIPAL SCHEME
Two physical inputs, one OSC brain, two engines, three ways out — the whole exhibit is a single signal chain.
FROM SKETCH TO FLOOR
The stand started as a pencil doodle — a slice of a driver’s seat on a pedestal. Nine months later the same silhouette stood on the museum floor: 3D model first, then metal, acrylic and a real wheel.
UNDER THE HOOD
Wheel, throttle, gauges, headphones and tactile bass all feed into one OSC-wired rig: Ableton Live plays the story and the engine, Resolume Arena drives the gauge screens. It boots itself in the morning, runs all day, and needs nobody behind the curtain.
HEAR THE EXHIBIT
A minute and a half from the headphones — scenes from the car’s story. Recorded in Russian, but an engine speaks every language.
A car that outlived its drivers, telling its own story to strangers in headphones — day after day, with no operator in sight. The museum got an exhibit. The Buick got its voice back.
FIRST PERSON · WHEEL AS CONTROLLER · SPATIAL AUDIO · AUTONOMOUS
RESPECT
Twenty people made one car speak. And as ever, my partner in crime on the engineering and sound side — Vova Ivanov ↗
XR EXPERIENCE
Multisensory Experience
OVERVIEW
An innovative, first-of-a-kind XR experience that uses binaural surround sound, tactile sensation, projection mapping, and kinetic & light animation to build the illusion of a mystical world inside the guest’s mind.
MY ROLE
Creative Art Director
TECHNICAL SETUP
Nine independent systems, synchronised to one timeline, turned a small black box into a body-wide instrument.
DEVICES
HOW IT WAS BUILT
Every cue — a gust of wind, a body-shaking sub-bass hit, a shadow thrown across the wall, the radio dimming itself — was sequenced against the binaural voice track on a single master timeline. Nothing was live or random; the whole room played back like one long film you could only hear and feel.
The four-actor cast was recorded in true binaural so voices move around your head in the dark — the core illusion the entire build protects.
BINAURAL SOUND EXAMPLES
For the full effect — close your eyes and turn the volume up. Recorded in Russian — but the spatial effect needs no translation.
From a 4 m² room, a world of its own — thirty minutes of mystery and a complete story. Like nothing people had felt before.
AUTONOMOUS · ONE BUTTON START · 150 VISITORS / MONTH
RESPECT
Of course a whole team stood behind this project. But my partner in crime — the one I spent countless sleepless nights with, tuning this little room until it finally came alive — is Vova Ivanov ↗
HYGGE COFFEESHOP · MOSCOW
«Rozetka and Coffee» — Moscow’s first hygge coffeeshop
SOLD IN 2022 · FIVE GOOD YEARSOVERVIEW
All the while — in parallel with my path as a creative art director — there was a coffeeshop. Literally “Socket & Coffee”: 26 square metres in the heart of Moscow that three friends kept warm for five years, then successfully sold — never closed.
THE IDEA
We read Meik Wiking’s “The Little Book of Hygge” and built it, page by page: candles, plaids, windowsill seats and hand-painted mugs — a small warm protest against the pace of Moscow, one step off a loud street in the city centre.
THREE PILLARS
MY ROLE
THE RUN
The coffeeshop ran for five years and became a second home to hundreds of regulars. It ended the way it lived — with the most spectacular farewell party a coffeeshop could throw, and a successful sale in 2022.
ONE MORE ROOM
Alongside the coffeeshop, for three years we also ran a coworking-café in the centre of Moscow — 120 m² of the same philosophy at a different scale. But that’s a whole other story.
After the war began in 2022, both projects were sold — brought to a proper finish as businesses, handed over on our own terms.
Not an art project — I know. But it’s a big piece of my life, and it taught me more about running a team and a product than any studio ever could.
HYGGE · 26 M² · 5 YEARS · SOLD IN 2022
PARTNERS
This place belonged to the three of us — built and kept warm together with Katya Koval and Anton Nikiforov, my partners in the most human project I’ve been part of.
TVC · OLV
On-set and post supervision for commercial VFX — with Main People.
OVERVIEW
Alongside my own projects, I regularly join the production company Main People on commercial shoots as a VFX supervisor — planning the effects shots on set and steering the VFX post-production all the way to the final frame.
MY ROLE
HOW IT’S MADE
A VFX breakdown of the Ideal System commercial — every layer between the raw plate and the finished frame.
ON AIR
BACKSTAGE
The best VFX shot is the one nobody has to rescue in post. Supervision is making sure it’s captured that way — while the camera is still rolling.
MAIN PEOPLE · TVC · OLV · ON SET · IN POST
RESPECT
Shot together with Main People — a production company I keep coming back to set with. More of their work at MainPeople.Yerevan ↗
BIG SCREENS · EVENT CONTENT
Projection mapping and content for big screens and live events.
OVERVIEW
Concept-to-launch work for big screens — projection mapping, facade shows and stage content for festivals, openings and live events around the world.
MY ROLE
SELECTED WORK
A lot of this work sits under NDA — but here are a few of the shows.
Big formats are the best part of the job — watching the work land on a wall, a fountain or a stadium screen. Always glad to jump in and build content for absolutely any screen.
PROJECTION MAPPING · FACADES · STAGE · LED · LIVE EVENTS
PRODUCT DESIGN · IOT
OVERVIEW
A desk globe that turns at the real speed of Earth, casting an accurate day / night shadow — correct to the minute. Wi-Fi-synced. The frozen shelf globe, finally alive.
THE PROBLEM
The globe on your shelf is a snapshot of a planet that never stops moving. Right now a sharp shadow is cutting across the continents — Tashkent nears sunset, Tokyo is deep in night, São Paulo is waking up. None of them show you any of it.
MEET SOLARIS
HOW IT MOVES
YOUR CITY
Enter your city once. A 3 mm warm LED on the globe’s axis marks your location with a soft point of light. When the shadow falls over your city at night, that dot stays lit — you can always see yourself on the planet.
A standard feature on every unit — not a premium add-on.
ENGINEERED, NOT IMPROVISED
No laser, no slip ring. A focused LED rides the globe’s own rotation axis, aimed at your latitude — so it always lights the same spot. Robust, cheap, and right.
Based on the USNO / Jean Meeus solar position algorithm.
SOLARIS — the Earth, live.
Coming soonINTERACTIVE EXPERIENCE · YEREVAN
OVERVIEW
An interactive street installation: a real Soviet payphone on a Yerevan wall. Lift the receiver and the city tells its own stories — memories, legends, everyday voices — guided by an old historian who spent a lifetime saving them.
THE PREMISE
An old historian spent his life collecting Yerevan — in chance conversations, dictaphone tapes, half-heard phrases. A whole layer of the city we usually flatten into a textbook. At the end of his road, he packed all of it into one place.
THE IDEA
Hotline Yerevan is an interactive installation built into a real Soviet payphone on a Yerevan wall. Lift the handset and you hear living audio — memory fragments, urban legends, everyday dialogues, long-forgotten sounds — all narrated by the voice of the historian.
THE PROTAGONIST
We gather these stories and turn dry facts into living narration — the voices of real residents, wrapped in atmospheric sound design, dialogue and ambience that drop the listener into the heart of Yerevan.
Crunch of snow underfoot, the hush of a night park — then a voice, and the story begins.
THE FLOW
PHYSICAL
TECHNOLOGY
Reliability first. A MiniPC runs TouchDesigner and Ableton; a USB modem gives remote access and soft-reboot. The piece has to run outdoors, for years, and quietly fix itself.
WHY
Self-funded. Every donation beyond running costs goes to charities inside Armenia.
ROBOTICS · AI · VIRAL MASCOT
OVERVIEW
An electric-blue cyber-cat that leapt out of Unreal Engine into the real world — a quadruped robot rebuilt as Xsolla’s mascot, streaming live with a camera for an eye and AI repainting every frame. It debuted at GDC 2023 and pulled 30M+ TikTok plays in ten days.
MY ROLE
THE MASCOT
Xsolla wanted a virtual influencer to front its Web3 and metaverse push — a character people would actually follow. Nushi, an electric-blue cat with a grandmother sidekick named Babka, started life inside Unreal Engine. The catch: make her real enough to walk a trade-show floor and a livestream at the same time.
THE BUILD
The team took a four-legged robot and turned it into Nushi — 3D-printed shells, sculpted prosthetics and a custom electric-blue coat over off-the-shelf hardware. Every part had to survive being handled, photographed and livestreamed for days on end.
A CAMERA FOR AN EYE
One eye socket hid a live camera — Nushi’s point of view. That feed ran through custom AI image transformers that repainted every frame in real time, so the physical cat could bleed straight into Xsolla’s Metasites metaverse. Rigged once, yet performed on the floor and inside the game world at the same time.
HOW SHE WORKED
Nushi ran a single performance through a physical body and a virtual twin — one pipeline feeding both the show floor and the metaverse.
VIRAL
Nushi hit Twitter, TikTok and the streets of San Francisco at once. The “Do the Noosh” video series cleared 30 million plays in ten days — a physical robot out-performing most fully-virtual influencers.
THE LAUNCH
Nushi debuted at the 2023 Game Developers Conference in the Moscone Center, run by a 30-person crew. She prowled the show floor, went live on stream, and roamed the streets of SF — half mascot, half performance piece.
CREDITS
LEAD ON XSOLLA SIDE
LEADERSHIP
CREATIVE & CRAFT
PRODUCTION
Made for Xsolla · 2023
A quadruped robot with a live camera in one eye, built to bring a virtual mascot into the real world — Nushi went viral in ten days, split the internet down the middle, and racked up more reach than campaigns ten times its budget.
GDC 2023 · 55M+ VIEWS ACROSS PLATFORMS · 465K FOLLOWERS · 30M TIKTOK PLAYS
Creative art director across CGI, AI, interactive and new media. I pick the right tools for each brand's goal and turn it into the right result — viral, immersive or live.
OPEN FOR PROJECTS
CGI & AI | SOCIAL VIDEOS
Viral Projects
Creative Art Direction For Vertex.CGI
450M+
VIEWS ON SOCIAL NETWORKS
↗ SPECIAL PROJECT
Online Game
Presentation
↗ EXPERIENTIAL
Multisensory
Experience
↗ TVC | OLV
VFX Supervision
BIG SCREENS
Mapping
Event Content
↗ SIDE PROJECT
10000REFS.ME