From the moment Blur set out to develop Love Death & Robots, it was clear that this project would require more talent and ideas than were available in house. To create 18 animated short stories, each in a completely different style, we had to reach out to artists and studios that we had never worked with before, and sometimes even competed against. It didn't take much convincing to enrol 14 other supremely talented teams and embark on a two-year journey to create an anthology bigger and wilder than what any studio could create on their own.
From the first contacts to Blur's usual competitors, to the last delivery to Netflix, Love Death & Robots VFX supervisor Jerome Denjean will show how a small team coordinated 15 studios and 20 directors across 11 countries ( 3 of them in Spain), pushed their creative energies in a direction that has seldom been seen in the industry, and developed a new community of exceptional storytellers who demonstrated that there's a place for adult stories in animation.
Jerome Denjean joined Blur Studio in 2003 as a Character Modeler and Lighter/Compositor, and worked his way up to Senior CG Supervisor for dozens of game cinematics, commercials, and film effects projects. Some of his most notable projects include the Warhammer Online and Halo 2: Anniversary edition game cinematics, as well as the opening credits for David Fincher’s The Girl with the Dragon Tattoo.
Jerome became Head of CG in 2014, coordinating and mentoring Blur's large roster of supervisors and heads of departments, before taking on the role of Visual FX supervisor for David Fincher and Tim Miller's new animation series for Netflix, Love Death & Robots.
