§ · About
Biography
I'm Ulisses Balbino. I've been directing commercial work since 2012 and co-founded Pichorra Filmes in São Paulo with Lisandra Barros. Composer, actor, editor, writer, director, every seat on a set, at some point.
Work you can go and check. I directed the Forno de Minas waffle launch, Combina com tudo, a stop-motion manifesto film plus a series of short films, creative by WMcCann, produced by Pichorra Filmes with Estúdio Fuê, covered by propmark and Clube de Criação. Last year I directed the Oggi Sorvetes campaign under a Netflix licence for Stranger Things, nominated for Collab of the Year at the Galo Dourado Awards and covered by Meio & Mensagem. Along the way: seven campaigns for Starbucks Brazil, Disney's Making of Marvel, Yamaha, Nestlé, Carrefour and Benefit Cosmetics. The archive is on Behance and the current reel is at ulissesbalbino.com.
Open Your AIs is where I write about AI from inside the production chain. No hype, no fear-mongering, no "everything is about to change." Just what I actually test, what actually works, and what actually breaks.
The tool is never the art. The hammer makes the cathedral possible; it doesn't make the cathedral. AI is a hammer that learned to swing itself.
Every industrial wave since photography has been met with a eulogy for art. Painting didn't die. Cinema didn't die. Each medium kept what the machine couldn't touch: the decision, the witness, the why.
Walter Benjamin named it in 1935. The aura of the original. What he missed: aura isn't a property of objects. It's what a person chooses to see. Infinite reproduction doesn't kill aura. Indifference does.
A model can render a thousand sunsets. Only one of them was the one we were waiting for. The picking is the work. Always was.
These dispatches are field notes from inside a production chain being rewritten in real time. Written between shoots, on trains, on the edge of a render, by someone still convinced that art owes nothing to the quarter's earnings.
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