Creator Spotlight: TOM MADE THAT
The most interesting work in advertising right now comes from creators who turn technical capability into narrative momentum. That’s exactly TOM MADE THAT operates.
The Australia-based 3D artist grew from early iMovie edits into studying 3D animation and VFX — a path that shaped his approach to FOOH as a blend of technical precision and imaginative storytelling. His biggest win so far? A 6.7M-views ad for OxyShred, proving how effective well-executed CGI can be in driving hype and brand visibility.
Cinema 4D and After Effects are his core tools for both CGI and FOOH, supported by smart tracking workflows and plug-ins that streamline the process. AI helps him explore directions and translate ideas quickly — but the creative vision always leads.
One misconception he sees often: people underestimate the time, skill, and detail behind high-level FOOH and CGI. “The concepts that look effortless are usually the ones that required the most planning, refinement, and creative problem-solving behind the scenes.”
Looking ahead, Tom sees FOOH becoming even more of a storytelling format — a way for brands to show personality in a way that feels magical yet grounded in the real world.
The full interview Q&A with Marcus Benisty follows below
Interview Q&A
How did you get started in FOOH/CGI? What was your first FOOH project?
I had a passion for film from a very young age, messing around with iMovie and seeing how far I could push it. This continued to evolve until I went to university and studied 3D animation and Visual Effects in 2019. There, I learned the professional CGI pipeline and continued developing my skills using Maya, Nuke, Cinema 4D, and After Effects.
What was your biggest project so far? (Brand, Views, etc.)
The biggest project I worked on was with EHP Labs/OxyShred on the launch of their non-caffeinated energy drink. Across TikTok and Instagram it garnered 6.7 million views. It was a huge success in driving awareness and excitement around OxyShred’s new innovation, and it really showcased how powerful well-executed CGI and creative strategy can be in a product launch.
How do most new clients find you?
Most new clients find us through word of mouth and seeing our work circulating online. Our past projects do the heavy lifting, so we rarely do any direct outreach these days.
Which tools/softwares are you using for your CGI projects?
Our main tools are Cinema 4D for all 3D work and After Effects for compositing — the most effective and time-efficient setup for our needs.
Which tools are you using for FOOH?
For FOOH projects, we also use Cinema 4D and After Effects. We do all our 3D tracking within AE and use a fantastic plugin from ‘Action Movie Dad’ that allows us to normalise our solve before sending it to C4D.
How do you stay authentic and relatable to audiences as social media evolves?
I stay authentic by actually being part of the community, not just posting into it. I’m constantly engaging with other artists, businesses, and clients — hyping their work, asking questions, and learning from what they’re creating. Staying curious and genuinely involved keeps my presence real, not performative.
Have you experimented with AI tools in your workflow?
Absolutely. Being able to translate ideas into visual references quickly is essential, especially in pre-production where concepts and directions often change.
Do you see AI playing a bigger role in FOOH/CGI in the next 1–2 years?
Definitely, it already is. But AI is just a tool, and a tool needs a creative to direct it. The software and pipeline we know today will look very different in two years. If you don’t learn how to use it, you’ll get left behind as an artist.
How do you stay inspired between commercial projects? My Instagram FYP is an absolute gold mine I’ve curated over the past few years. If I ever need inspiration, one quick scroll is usually enough.
What’s something people often misunderstand about FOOH? People often underestimate how much time, skill, and detail go into high-level FOOH and CGI. It’s not cheap, and it’s not quick. The concepts that look effortless are usually the ones that required the most planning, refinement, and problem-solving behind the scenes.
Where do you see the biggest challenge for creative studios right now? Standing out from the noise. During the 2024 CGI hype wave, countless “studios” popped up, pumping out recycled concepts with no creative depth — resulting in a saturated market of look-alike content. Real studios now need to push beyond trend-chasing. CGI should elevate a brand’s identity and give viewers an immersive sense of who that brand is. The challenge is using the tool with intention, not imitation.
Have client expectations changed in 2025?
Honestly, not really. The fundamentals haven’t changed. Clients still want partners who listen to the real problem, communicate clearly, and deliver what they promise. As the space gets noisier, reliability, clarity, and results matter more than ever.
Dream brand/IP to collaborate with?
Crocs. They’re fun, collaborative, and a household name. That’s our 2026 vision-board client.
How do you see FOOH developing in the next year?
FOOH is here to stay. Being able to combine real life with the unimaginable is captivating and an incredible way to express a brand’s message. What I want people to realise is that FOOH isn’t just a visual trick — it’s a storytelling format. It expresses a brand’s personality in a way that feels magical yet grounded in reality. The studios that treat it as a creative medium — not an effect — will win.
What advice do you have for brands or creators trying to stand out today?
Study what has worked before, understand why it worked, then build on top of it with your own perspective. Trends help, but originality creates memorability. No AI can replicate your lived experience, taste, and perspective, that’s the part audiences connect with. The creators and brands that win today are the ones who combine proven strategy with a unique point of view
