How a Los Angeles–based FX artist turned hair, physics, and humor into one of the Super Bowl’s most unforgettable spectacles.
When over 123 million viewers tuned in to Super Bowl LVIII in 2024 — the largest TV audience in U.S. history — the dazzling visual magic of Kawasaki’s viral “Mullets” commercial was powered by the imagination and precision of FX artist Yang Wu.
For Wu, a Los Angeles–based visual effects artist celebrated for her bold and technical approach, the Super Bowl isn’t just an ad platform — it’s the stage where art and engineering collide under the brightest spotlight in entertainment. With credits spanning Doritos – Jack’s New Angle (2023), Kia Telluride – Binky Dad (2023), and Kawasaki – Mullets (2024), her work has captivated hundreds of millions of viewers worldwide and brought a distinct sense of personality and storytelling to commercial VFX.
In Kawasaki – Mullets, Wu took on one of the most technically demanding and creatively absurd challenges of her career: making an eagle and a bear sport slow-motion mullets that flowed with photorealistic detail and perfect comedic timing. It was a task that required not just technical mastery but an instinct for rhythm, texture, and humor.
“Hair and fur are among the most complex things to simulate,” says Wu. “For Kawasaki – Mullets, I needed every strand to react believably in the wind — but also to make people laugh. It’s about emotion and rhythm as much as realism.”
Her solution went beyond artistry — it was an engineering breakthrough. Working at the renowned visual effects studio The Mill, Wu developed a custom procedural optimization tool that dramatically reduced simulation file sizes, streamlining the lighting department’s workflow and improving rendering efficiency across the studio’s production pipeline. The Mill, known globally for its award-winning commercials and cinematic visual effects, has since integrated Wu’s technique into other productions — a testament to her ability to merge technical foresight with creative ingenuity.
Those who worked alongside her on the project, including 3D Supervisor Jessica Groom Shelton (now Head of CG at Framestore LA), recall Wu as a driving creative force on the team. Her ability to transform complex physics simulations into expressive, character-driven moments elevated the ad’s visual tone and helped define its distinctive comedic style.
The commercial went on to become one of the most talked-about Super Bowl spots of the year. According to Kawasaki USA, the ad earned over 10 million views online within six months, with total exposure surpassing 10.14 million views across multiple platforms. Combined with the record-breaking 123.7 million Super Bowl audience, the campaign achieved extraordinary reach and cultural resonance.
Industry publications including Fast Company, Adweek, Little Black Book, Muse by Clio, and Before & Afters praised the commercial’s clever visual humor and standout VFX work — many citing its balance of realism, personality, and playfulness as a model for high-end advertising.
Wu’s creative fingerprints extend well beyond Kawasaki. In 2023, her contributions to Doritos – Jack’s New Angle and Kia Telluride – Binky Dad showcased her versatility across tone and style — from the punchy, stylized energy of Doritos’ surreal sequences (which drew over 120,000 online views) to the emotionally grounded atmosphere of Kia’s cinematic storytelling.
“Super Bowl commercials are like mini-blockbusters,” says Yang Wu. “You get only a few seconds to create something unforgettable. My goal is to make the impossible feel effortless.”
Whether she’s simulating cascading particles, growing digital vines, or crafting windswept hair, Wu approaches each shot like choreography — blending timing, movement, and feeling into a seamless visual rhythm. “Every effect has a pulse,” she explains. “When the audience laughs, gasps, or simply believes what they’re seeing, that’s when I know the magic of VFX has done its job.”
With an MFA in Visual Effects and over seven years of experience in high-end CG production, Yang Wu continues to redefine what’s possible in commercial storytelling. Her artistry bridges technology and emotion, making her part of a new generation of FX artists who see beauty not just in perfection but in imperfection — in the rhythm of dust, the shimmer of light, the humor of movement.
She believes that visual effects, when used meaningfully, can transcend spectacle and become a language of human expression. “Good FX doesn’t just show you something new,” Yang Wu reflects. “It makes you feel something — even if it’s just a laugh, a sense of wonder, or a moment that reminds you how alive an image can be.”
As the advertising and entertainment industries continue to evolve, Yang Wu stands out as both an innovator and an artist — a storyteller fluent in the language of particles and physics. From global Super Bowl spots to large-scale experiential projects, her work reaffirms that the heart of great visual effects isn’t the software or the simulation — it’s the vision and curiosity of the artist behind it.
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