Creative visual effects boutique Artjail has added VFX supervisor Christoph Schröer to its Chinatown, NYC studio. Previously a VFX supervisor/sr. compositor at The Mill, Schröer brings over a decade of experience and an eye for design in VFX to his new leadership role at Artjail. His work has been featured in internationally acclaimed spots for brands such as Mercedes Benz, Visa, Volkswagen, Samsung, BMW, Hennessy and Cartier.
Fusing together a knack for computer technology and a passion for graffiti design, Schröer applied his degree in Computer and Media Sciences to begin his career in VFX. He cut his teeth in VFX at some of the biggest shops in Germany and Switzerland, catching the eye of a wide range of European auto clients with his natural eye for technical design and precision. His credits from his tenure in the European market include Lead Compositor for multiple Mercedes-Benz spots, two global Volkswagen campaign launches, and BMW’s “Rev Up Your Family”.
In 2016, Schröer made the move to New York to take on a role as Senior Compositor and VFX Supervisor at The Mill. There, he teamed with notable directors such as Tarsem Singh and Derek Cianfrance, and worked in leading VFX roles on campaigns for clients including Hennessy, Nissan Altima, Samsung, Cartier and VISA. His work has garnered numerous industry accolades, such as five shortlists, including one for VFX, from Cannes Lions for Hennessey “Major” as well as recognition from the Clios, and ADC.
Noted Schröer, “The team at Artjail brings a collaborative, boutique approach to every project that they work on and their work is consistently top notch. I’m looking forward to working with their talented lineup of artists and producers to continue to elevate the output of creative work.”
“Christoph is that rare breed of artist, technically very capable, and comes with a strong creative eye. He’s a great lead who understands the desires of the agency, director, and client,” added Artjail managing director John Skeffington.
Review: Director John Crowley’s “We Live In Time”
It's not hard to spend a few hours watching Florence Pugh and Andrew Garfield fall and be in love. In "We Live In Time," filmmaker John Crowley puts the audience up close and personal with this photogenic British couple through the highs and lows of a relationships in their 30s.
Everyone starts to think about the idea of time, and not having enough of it to do everything they want, at some point. But it seems to hit a lot of us very acutely in that tricky, lovely third decade. There's that cruel biological clock, of course, but also careers and homes and families getting older. Throw a cancer diagnosis in there and that timer gets ever more aggressive.
While we, and Tobias (Garfield) and Almut (Pugh), do indeed live in time, as we're constantly reminded in big and small ways — clocks and stopwatches are ever-present, literally and metaphorically — the movie hovers above it. The storytelling jumps back and forth through time like a scattershot memory as we piece together these lives that intersect in an elaborate, mystical and darkly comedic way: Almut runs into Tobias with her car. Their first chat is in a hospital hallway, with those glaring fluorescent lights and him bruised and cut all over. But he's so struck by this beautiful woman in front of him, he barely seems to care.
I suppose this could be considered a Lubitschian "meet-cute" even if it knowingly pushes the boundaries of our understanding of that romance trope. Before the hit, Tobias was in a hotel, attempting to sign divorce papers and his pens were out of ink and pencils kept breaking. In a fit of near-mania he leaves, wearing only his bathrobe, to go to a corner store and buy more. Walking back, he drops something in the street and bang: A new relationship is born. It's the... Read More