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How did you discover your passion for visual communications, and how did you learn the necessary skills to enter the industry? With a background in architecture, I was always fascinated by visual communication and particularly in how it influences mood, environment and functionality. This fascination began early in my academic journey when I realized the profound impact of visual elements in conveying complex ideas and narratives. Upon graduating and starting my career, I noticed a significant shift in computer graphics technology. The evolution of 3-D visualization was revolutionizing how spaces were represented, offering a more effective means of communication than traditional sketches. Motivated by this development, I decided to pursue an MA in computer arts at the Savannah College of Art and Design (SCAD). This program was pivotal; it enabled me to specialize in creating advanced visualizations, blending my architectural expertise with cutting-edge computer graphics.

During my time at SCAD, I immersed myself in various aspects of visual arts from 3-D modeling to animation and digital storytelling. The curriculum was rigorous, pushing me to constantly innovate and refine my techniques. The combination of theoretical knowledge and practical application provided a robust foundation for my career in visual communications. Moreover, SCAD’s collaborative environment fostered a community of creatives from diverse backgrounds, which enriched my learning experience and broadened my perspective on visual storytelling.

What led you to establish your production company Ataboy, and what do you do there as creative director? After graduating, I moved to New York and interned in broadcast graphics. This period was transformative as I quickly became involved in the field of motion design and joined a post-production company called Red Car. Spending more than half a decade there, I played a key role in establishing and growing Red Car’s animation division as a creative director. This experience was invaluable as it exposed me to the intricacies of the industry and the importance of storytelling through various mediums. I realized that beyond graphic elements, there was a profound need to tell stories that resonate on multiple levels. This realization was the seed that eventually grew into Ataboy—a production company that specializes in storytelling”by combining various mediums and techniques to create compelling narratives.

Our typical clients or collaborators, as we like to refer to them, are brands that align with our ethos of continuous evolution. We specialize in blending animation, live action and groundbreaking technologies for commercial production. Over the years, we have worked with many progressive brands such as American Express, Apple, Coca-Cola, IBM and IKEA, either directly or through agencies. These collaborations are rooted in a shared vision to push creative boundaries and explore new possibilities in visual communication.

How does your educational experience as an architect inform your approach to producing motion work? There is a clear crossover between architecture and other art forms, and that’s something I fully embrace. My architectural background instilled in me a deep understanding of space, structure and aesthetics, which I now apply to my work. The principles of negative space, lighting and a sense of drama are integral to both fields. By integrating these architectural elements into screen-based media, I find a unique perspective that enriches my approach to visual storytelling.

For example, the concept of scale in architecture translates seamlessly to moving images, where the spatial dynamics of a scene can influence the viewer’s perception and emotional response. Similarly, the strategic use of lighting in architecture to create mood and highlight features is mirrored in how we use light and shadow in a shot, animation and visual effects to enhance storytelling. These crossovers not only inform my creative process but also enable me to bring a distinctive architectural sensibility to the projects we undertake at Ataboy.

I love the phrase on your website: “Technique agnostic storytelling across all mediums.” What would you say this creative philosophy means, and how have you applied it to Ataboy’s portfolio? Working across various mediums and collaborating with diverse talents is incredibly exciting. It lets us craft visual aesthetics that effectively convey messages and evoke a range of emotions. Just as a painting can be created using different mediums and techniques to tell the same story, our approach in visual arts is flexible and adaptive. This philosophy means that we do not confine ourselves to a single style or technique; instead, we tailor our methods to best express each unique narrative.

At Ataboy, this approach has led to a diverse portfolio that includes everything from traditional animation and live-action films to cutting-edge virtual reality experiences. We believe that the story dictates the medium, and our role is to adapt and innovate to bring that story to life in the most compelling way possible. This creative freedom has allowed us to experiment with new technologies and techniques, constantly evolving our craft to stay at the forefront of the industry.

Content must serve multiple purposes beyond just selling; it should also allow for experimentation and efficiency without compromising quality.”

Tell us about some of your favorite projects you’ve created at Ataboy. How did they change your perception of what you can achieve in visual communications? I’m particularly proud of projects like the IKEA, Mercedes smart car and Progressive campaigns. These projects resonate with me personally as a director because they exemplify our ability to combine various mediums into cohesive, engaging pieces of content. Each project presented unique challenges and opportunities, pushing us to innovate and think outside the box.

The IKEA campaign, for instance, involved creating a series of visually stunning animations that conveyed the brand's ethos of simplicity and functionality. By blending 3-D animation with live-action elements, we were able to create a dynamic and immersive experience that captured the essence of the brand. Similarly, the Mercedes smart car campaign allowed us to explore the intersection of technology and storytelling, using cutting-edge visual effects to highlight the car’s innovative features.

These projects have reinforced my belief in the power of mixed media aesthetics and the limitless possibilities of visual communications. They have also demonstrated that with the right team and creative vision, we can create content that not only stands the test of time but also pushes the boundaries of what is possible in our industry.

You’re passionate about developing diverse creative teams. What strengths lay in having a diverse creative team, and how do you see it impacting results positively? As a studio, we have other directors who explore their own craft and aesthetic. There is some truly amazing work being done by Andrew Gooi and Corydon Wagner, among others at the company. Each director brings their unique style and perspective, contributing to a rich tapestry of creative expression within the studio. This diversity is a strength as it fosters a culture of innovation and inclusivity.

Diverse teams bring a wide range of experiences, viewpoints and problem-solving approaches, which can lead to more creative and effective solutions. This diversity not only enhances the quality of our work but also makes our creative process more dynamic and collaborative. By embracing different perspectives and encouraging experimentation, we create an environment where new ideas can flourish, leading to more impactful and resonant content.

What emerging technologies and innovations will have the biggest impact on how you create in the next few years? I believe XR production will significantly influence my aesthetic and style. By integrating AI-powered production workflows, I can streamline my processes and enhance how we communicate on screen. This approach will help in creating content that remains engaging and entertaining, while also being produced more efficiently.

The integration of AI and XR technologies opens up new possibilities for interactive and immersive storytelling. These innovations allow us to create experiences that are not only visually stunning but also deeply engaging for the audience. By leveraging these technologies, we can push the boundaries of traditional media and explore new frontiers in visual communications.

What is one challenge currently facing production companies that they need to address in order to remain relevant? Advances in technology have made production a more democratic process, enabling small teams to accomplish what once required large crews. This shift presents both opportunities and challenges for production companies. To remain relevant, companies should focus on defining their unique voice and staying true to it. While it’s important to have a diverse portfolio to meet various needs, embracing technology is crucial.

Content must serve multiple purposes beyond just selling; it should also allow for experimentation and efficiency without compromising quality. This means staying ahead of technological trends, investing in new tools and techniques, and fostering a culture of continuous learning and innovation. By doing so, production companies can maintain their competitive edge and continue to deliver high-quality, impactful content.

Do you have any advice for people starting out in the industry today? This is a very young industry that is ever-evolving. For those entering this industry, it’s essential to recognize that creativity and mastery of the craft are just the beginning. I encourage them to maintain a positive attitude and not become too attached to the work. Be prepared to let go of old methods, technology and styles and start anew when necessary. Collaboration is key; work with specialists to complete projects, and don’t worry about knowing everything yourself.

Production is a team sport, so the “do it all” approach can be limiting. Stay open-minded, keep a great attitude and remember that your passion for what you do is what brought you here. Embrace the learning process, seek out mentors, and be willing to take risks and experiment. The industry is full of opportunities for those who are willing to adapt and grow, so stay curious and never stop learning. ca

Vikkal Parikh is the founder and creative director at Ataboy, a pioneering design-led content studio that has redefined the art of storytelling. With an impressive portfolio of artful campaigns, Parikh has left an indelible mark on global brands such as Adidas, Coca-Cola, GE, IKEA, Progressive and White Castle. At the helm of Ataboy, he has become a trailblazer in crafting breathtaking mixed media narratives, breathing life into campaigns that transcend the ordinary with his innovative use of Cinema 4D and motion graphics. Parikh’s vision extends beyond the confines of conventional visual storytelling; it’s a relentless pursuit to redefine how stories are told in the digital age.

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