Binic
(promotional animation)
2025

A 3D promotional animation for the Binic table lamp by Foscarini. The piece treats the lamp as a character with a subtle sense of life: its power cable animates itself, pulling the lamp across a bedside table until it reaches the outlet and plugs in on its own. Once powered, the lamp “absorbs” the sunlight outside the window and releases the moonlight in its place, transforming the scene from day to night as if the lamp has taken ownership of the light in the room. The animation ends with a clean lineup of the Binic color variants, presented as a product showcase.

Process

The beginning

This project was a huge learning curve for me, mostly because the direction kept shifting while I tried to understand what the piece actually wanted to be. I started with a completely different concept. I storyboarded it, built an animatic, and even blocked out some early shots. Once I stepped back, I realized it just did not carry the clarity or emotional weight I needed. Letting that version go was tough, but it gave me the space to rebuild the idea into something more focused: a massive industrial machine that quietly erases identities, reflecting the way the dogs in Isle of Dogs disappear from the world.

The medium

I originally wanted to make this with real materials and miniature sets, but stop motion would have been impossible within the time I had. Moving into 3D was a practical choice, even though it came with its own challenges. Trying to capture Wes Anderson’s visual voice in a digital environment was incredibly demanding. The symmetry, the exact camera angles, the handmade feeling inside a world that is very controlled. Some scenes finally clicked, and those moments reminded me why I pushed through the difficulty.

The craft

Almost every element in the sequence was created by hand. The textures, the models, the typography, the shot planning, the story logic. The production became a long rhythm of building pieces, testing timing, adjusting the mechanism, and refining the environment until the machine felt alive and intentional.

The outcome

Looking back, I can see where the direction still wants more confidence and where the timing could be sharper. But this project showed me how to adapt when an idea collapses, how to rebuild something from the ground up, and how much patience it takes to design a world that feels both mechanical and expressive. It reminded me that clarity does not come at the beginning of a project. It arrives slowly, in the middle of the mess, once you have worked long enough to recognize what the piece is finally trying to say.

Luis BlancaResume

Luis Blanca
Resume