From Darling Hair commercials to Swallow on Netflix and the stylistic experiments of his early showreels, Oluwatise Oluwajuwon has built a career defined by clarity of vision and technical precision. Speaking with Flourish Joshua, he reflects on narrative flow, invisible VFX, team dynamics, and the evolving future of hybrid digital artists.
Flourish:
Your motion-design reel and TV-commercial work span clean transitions, nuanced timing, and compelling storytelling. How do you approach the narrative arc in a single visual sequence, what anchors your aesthetic decisions?
Oluwatise:
For me, every creative art has a mini-story, even if it’s just a few seconds long or static image. I always start by asking, “What’s the main feeling or message this shot must deliver?” That becomes my direction.
I keep my approach simple:
Motion that has a purpose
I avoid random effects. If the product is about smoothness, the motion should feel silky — long arcs, soft easing. If it’s volume, then bigger sweeps, more lift in elements.
Timing that lands the moment
I use timing like rhythm. A little slow buildup, then a clean reveal when the hair shines or the product bottle hits center frame. Good timing makes the shot satisfying.
Design that leads the eye
Even when there’s lots of shine and particles, I use contrast, color, and framing to make sure the viewer is looking exactly where they should — usually the hair first, then the hero product.
For example, in a hair motion design commercial I worked on for Darling Hair, the story was:
healthy hair → motion → shine → product reveal.
As the hair moves around, I added subtle light streaks that chase the motion and land right on the brand mark — so the excitement from the movement flows directly into the product.
So even if it’s just beauty shots, there’s still a clear emotional arc. The visuals aren’t random — they’re there to make the hair feel amazing to the viewer.
Flourish:
The “Swallow” feature film breakdown for Netflix exemplifies cinematic VFX supervision for large-scale productions. Which creative or technical challenge did you find most instructive during that project?
Oluwatise:
Because Swallow is set in the past but was shot in the present day, there were a lot of technical and creative challenges from the start. But if I had to pick a few key ones…
One big eye-opener for me was realizing how much effort goes into VFX that the audience should never even notice. There’s a scene where the character experiences real discomfort around a septic tank, the moment needed to feel grounded and authentic, not like a flashy CGI trick. Our job was to help the audience feel that tension without spotting any VFX.
So instead of going heavy on big obvious effects only, my team and I focused every subtle details also, like blending elements of older environments and aesthetics into modern shots, sometimes within just a few seconds. Tiny adjustments that still had to sell the period and the emotion.
The toughest part was making everything blend perfectly with the real footage, especially during close-up shots where the camera was unforgiving. If anything was even slightly off, the illusion would break instantly.
Another part that taught me a lot was working with the crew on set, making sure lighting and camera moves were right so the VFX later wouldn’t look like it came from a different world. And because it was going on Netflix, we had to stay really organized so nothing slipped through.
What I took away from that project is: good VFX isn’t always loud. Sometimes the most impactful shots are the ones nobody realizes are VFX, but they feel the emotions because of them.
Flourish:
You’ve contributed to both fast-paced promos and intricate showreels, from music videos like Banky W’s to layered animations like Ogboju Omo. How do you calibrate your energy and precision to fit vastly different briefs?
Oluwatise:
For me, it’s all about matching the approach to the project.
Take the Banky W music video, it was all green screen, so my job wasn’t just putting the artist and models on screen. I had to fill the space with interesting elements, make it feel dynamic, and keep the energy up so the visuals didn’t feel empty. That meant thinking fast, layering effects, and reacting to the beat, everything had to pop immediately.
On the other hand, Ogboju Omo was a short full 3D animation, so it was a completely different mindset. Every frame mattered, every movement had to feel deliberate. I had to slow down, focus on small details like textures, lighting, and timing, because viewers would actually sit and watch the world I was building.
So basically, I switch gears depending on the brief: fast and energetic for green-screen promos, slow and precise for detailed 3D animation. It keeps the work interesting and makes sure each project feels right for its audience.
Flourish:
Collaboration surfaces frequently in your roles (e.g. post supervisor, VFX compositor). When liaising with directors, animators, or producers, what strategies help you maintain clarity and mutual respect while delivering your technical vision?
Oluwatise:
For me, working with directors, animators, or producers is mostly about setting clear target, honest communication and respecting everyone’s role.
I try to:
Keep it simple – I explain ideas in terms of what the audience will actually see, not in technical jargon. Instead of talking about layers or nodes, I’ll say something like, “This effect will make the hair shine catch the light right here,” so everyone knows what to expect.
Listen first – I make sure I really understand what the director or producer wants. Sometimes it’s less about the effect itself and more about the feeling or mood they’re trying to create.
Be realistic – If something will take too long or might not work exactly as imagined, I say it early and suggest alternatives. That way, there are no surprises.
Respect everyone’s craft – Animators, producers, directors — everyone’s putting in work. I make sure their ideas are included and credited. It makes collaboration feel like a team effort instead of a back-and-forth fight.
For example, on the green-screen-heavy Banky W music video, I worked closely with the director(Banky W) to make the effects feel lively without taking attention away from the artists. We shared ideas, iterated quickly, and stayed flexible. By the end, it felt like the visuals were something we all built together, not just me doing my own thing.
Flourish:
The Telecom Visual Effects Breakdown for King of Boys(KOB) showcases practical ingenuity under constraints. For instance, Roman architecture thrived by making limitations into invention. In the case of the arch or the aqueduct. Do you find that tight budgets or technical barriers similarly push your artistry into unexpected directions?
Oluwatise:
Definitely. Tight budgets or technical limits actually push me to get creative in ways I wouldn’t normally sometimes. On King of Boys, for example, I had to make it look like fire was burning through so many prison windows. We obviously couldn’t set the whole building on fire, so I had to figure out how to sell the illusion using VFX.
That meant layering fire elements, and adjusting lighting, playing with timing so it felt realistic — all while making sure it matched the live footage. It was challenging, but those kinds of limits actually force you to think smarter, not just bigger. Some of the shots ended up looking better than if we’d just gone “all out” because every detail had to be intentional.
So yeah, restrictions can actually be a blessing — they push your artistry into unexpected directions and make you come up with
solutions you wouldn’t try otherwise.
Flourish:
Your early VFX showreels from 2013 to 2015 trace your stylistic evolution. What creative breakthroughs occurred during that period, and how do you assess your own artistic growth since then?
Oluwatise:
Looking back at my early showreels from 2013 to 2015, I can really see how I was figuring out my style. Back then, I was experimenting a lot — trying out motion graphics, simple VFX, and figuring out what worked visually. One big breakthrough was learning how to make small details feel big — even simple effects could have a big impact if timed and layered properly.
Since then, I feel like my work has become more intentional and polished. I’m better at storytelling through visuals, blending 3D, VFX, and design so it all serves the idea, not just looks cool. I’ve also learned to balance speed with quality — knowing when to go full-on detailed and when subtlety works better.
Overall, it’s been a steady growth from “let’s try everything” to “let’s make everything we do actually mean something.”
Flourish:
Todd Vaziri reflected that “disguising the transition between live action and CGI” remains among the craft’s greatest challenges. How do you fine-tune your eye and workflow to make that embedding seamless?
Oluwatise:
Yeah, that’s definitely one of the trickiest parts. For me, it’s all about really watching the footage and making the CGI feel like it belongs in the same world. I spend a lot of time looking for references, creating storyboards so as to see how light hits surfaces, how shadows fall, and how things move in real life — then try to match that in the CG.
In terms of workflow, I like to build in little checks early instead of fixing problems at the end. That means References and storyboards are vital, layering CG elements gradually, constantly comparing to the live-action plate, and tweaking color, motion blur, or timing until it feels natural. Even small things, like a tiny reflection or a subtle shadow, can make a huge difference.
Honestly, it’s part patience, part observation. The goal is that the audience doesn’t think “that’s CGI” at all — they just feel like it’s part of the scene. When that happens, it’s always a satisfying win.
Flourish:
On the other hand, Yan Chen predicts a renaissance of hybrid artists who can code, animate, rig, and train models, calling them “suddenly really valuable.” How do you balance deep technical craft with broader creative literacy in today’s evolving VFX landscape?
Oluwatise:
I think it’s all about staying curious and flexible. On one hand, you need to really know your craft — how to composite, light, animate, or do VFX properly. That’s the foundation. But at the same time, understanding the bigger picture — design, storytelling, even a bit of coding or 3D rigging — lets you contribute in ways that go beyond just executing shots.
For me, it’s like juggling two hats: I’ll dive deep into a tricky VFX shot one day, then step back and think about how it fits in the story, the pacing, or the vibe of the whole project the next. Being able to speak both “technical” and “creative” lets me come up with solutions that are smarter and often more efficient — and it makes collaborating with directors and animators way smoother.
Honestly, I try to never stop learning. Even small things — like a new plugin, or understanding how AI models are being used in animation — can suddenly give me a new tool for storytelling. That mix of craft and curiosity is what keeps the work fresh.
Flourish:
Technology evolves quickly in your field. Looking ahead, what tools or pipelines (e.g. Unreal engine, Blender, AI-assisted workflows, Adobe After effects and others) intrigue you most, and why?
Oluwatise:
Honestly, the pace of new tools in VFX is really exciting! Right now, I’m especially into Unreal Engine, AI-assisted workflows, Blender, and the latest Adobe After Effects.
Unreal is great because you can see changes in real time, which makes experimenting with shots and timing way faster and more fun. AI tools are awesome for handling repetitive stuff like cleanup or rotoscoping, so I can spend more energy on the creative parts that make a shot stand out. Blender is super flexible for 3D, motion graphics, and simulations all in one place, which is perfect for smaller projects or quick experiments. And the latest After Effects keeps getting more powerful with features that let me work faster and create more polished motion graphics without jumping between apps.
Basically, I get excited about tools that let me be more creative, save time on tedious stuff, and make the visuals feel sharper and more alive.
Flourish:
You’ve built an independent career with global reach. In antiquity, Greek artists often travelled to Rome to find patronage and scale. Do you feel a similar pull between local roots and global platforms when sharing your work on Vimeo, Instagram, or film festivals?
Oluwatise:
Absolutely, I feel that pull. Being based in Nigeria, my work is shaped a lot by local culture, stories, and aesthetics, that’s my foundation. But at the same time, platforms like Vimeo, Instagram, and film festivals give my work a global audience. It’s exciting because you get feedback and inspiration from all over the world, and it pushes me to level up.
It’s a bit like the Greek artists traveling to Rome, you stay true to your roots but also explore new spaces, meet different creative voices, and find opportunities that wouldn’t exist locally. For me, the trick is balancing the two: making work that feels authentic to where I come from, but also resonates with people everywhere.
Flourish:
If a young and curious artist were to ask what you wish you’d known when producing your first showreel, what guiding thoughts would you offer?
Oluwatise:
If I could go back, I’d tell my younger self: focus on story over flashy effects. Keep it short and tight, highlight your best work, not everything you’ve ever done. Think about who’s watching and make it easy for them to see what you can do. And finally, don’t be afraid to experiment, your early reels are where you figure out your style and learn what works. Make it feel like a story, not just a demo reel.